by Laure Baudot
Catherine wants what Richard has: a richly decorated house, and a perfect, lavished-upon baby. Catherine also wants Richard: a disaffected diplomat whose true passion is for cinema. But Catherine is only the babysitter, and her envy—and its fallout—come to the fore when Richard is accused of a crime, and she must decide whether to help exonerate him.
“Laure Baudot’s prose is exquisite, patient, and sophisticated. In the Afternoon immerses you in the fascinating and complicated mind of a babysitter who is wise beyond her years, yet dangerously impulsive at the same time. This story is irresistible and heartbreaking.”
— Sarah Selecky, author of the 2010 Giller Prize–shortlisted collection This Cake Is for the Party
THE LAST TIME I saw all of them together, they stood in their beige, marbled vestibule: Jackie, clouded in Givenchy, and Richard, in a charcoal suit, bending to kiss the baby, Suzette, who was sitting in the crook of my arm as if it were a rocking chair.
I wanted them to go. It was always the same: my regret that Richard was leaving, and my eagerness at becoming the mistress of his house.
But Richard turned to me. “I want to show you something,” he said.
“Richard,” said Jackie.
“Un petit moment. Come, Catherine.”
Jackie looked at me and rolled her eyes, as though to confirm that we both knew how Richard could be. Back then I liked her pretty well, though I disdained her a bit, too. I felt she didn’t have much control over her husband. It was only later that I realized that really, where Richard was concerned, she had always been more powerful than me.
I gave Suzette to her mother and she protested but then turned placid. She was an easy baby, which I only appreciated once I had my own kids a few years ago.
I followed Richard up the stairs. Richard was tall and had a kind of middle-aged professorial handsomeness. He had a lick of untamed hair on the top front of his head. He wore wire-rimmed glasses and expensive suits. He was a diplomat who’d landed in diplomacy by accident because his father had been in the business. He didn’t like his work, but he was good at it: he had an attitude of respect for his elders in the job, a stance that bordered on subservience but didn’t quite make it there. He was a political man, too, and he could, when required, become rapidly dissembling.
We went into the spare bedroom, which was cluttered with the things the family no longer used. It was where Richard kept his stash of videotapes. They were stacked haphazardly, on bookshelves, on dressers, and on the floor. Some of their boxes were open, with cassettes peeking out like turtles from their shells.
On a stand, the VCR radiated heat from having been on for some time. Richard reached for a remote. “Look,” he said.
He showed me a clip. “It’s a film about Artaud. The playwright.”
Onscreen, Artaud and a friend ate soup while a woman in peasant clothes watched. “That’s the friend’s mother,” whispered Richard.
As I watched, the friend talked about what seemed to me to be an obscure philosophical point. But Artaud ignored him and slurped the soup, which was the colour of frog skin. “What is in this?” he asked the woman. “It has a velvety texture.”
Onscreen, the woman smiled.
Richard turned to me. “You see,” he said, “his friend wants to make abstract conversation. But Artaud is showing him the appreciation of the moment. He wants to savour every particle of that soup.
“Here,” he said, shutting the film off, ejecting the cassette, and handing it to me.
about the author
LAURE BAUDOT is a Toronto martial artist and writer. Her work has appeared in publications such as Prairie Fire, Existere, and The Fertile Source, a literary ezine. She blogs about martial arts and motherhood at pregnantladydoeskarate.com.
from the library
This Is a Love Crime
by Lee Kvern
Marta is a human resources employee at a grocery store chain. She moves through the days passively, always taking the path of least resistance, until a case at work - that of a hijab-wearing woman, in defiance of a strict no-hats policy - awakens her to the injustices of her own life.
“This Is a Love Crime by Lee Kvern is a cunning and intensely human look at one of the central issues of our time. It negotiates the space between belief, racism, liberty, and sexuality with curiosity and compassion.”
— Todd Babiak, bestselling author of Toby: A Man and The Garneau Block
“Lee Kvern paints with a scalpel. With characteristic unflinching honesty, she peels the relationship between Marta and Corbin back to quivering nerves in This Is a Love Crime and juxtaposes it against veiled assumptions about cultural oppression. The narrative leaps crackle with energy and empathy. When I read Kvern’s stories, I’m seduced by exquisite detail and—love or loathe them—left with the scent of her characters long after the last page.”
— Betty Jane Hegerat, author of Delivery and The Boy
“In This Is a Love Crime, Lee Kvern uses the intricately drawn characters of Corbin and Marta to explore the charged topics of ethnicity and Western modes of submission and control. Written in Kvern’s distinctive, poetic, and multi-layered style, the story leaves us with warm insight into all the characters—and challenges our hearts and preconceptions.”
— Barb Howard, author of Whipstock, Notes for Monday, and The Dewpoint Show
Having lived a long, eventful life, Charlie Weinheimer’s only regret is that he has no one to carry on after him. After a near-death experience, he resolves to find out whether a secret buried in his past is proof he has a legacy after all.
“Margoshes gives us the life of Charlie Weinheimer: quadruple bypass patient, widower whose children all die tragically young, but not a whiner. In his hospital bed at age seventy-seven, he’s seen it all, right? Well, maybe not. Watch as Margoshes calls upon his raconteur skills to thicken the plot.”
— David Carpenter, winner of the 2010 Saskatchewan Book Award for A Hunter’s Confession
The depredations of a corrupt local government and the ravages of a harsh prairie winter force an ostracized but self-sufficient widow to open her home to innocents with nowhere else to turn. Journey Prize finalist Seyward Goodhand's effortless storytelling allows the humanity to shine through in this grim take on a classic tale.
by Naomi K Lewis
As a boy, Timmy (Sir Timothy Brian F. the Fantabulous) tells tall, tragic tales to get attention from the adults in his life - particular his busy mother and Dr. Bass, his nerdy-cool neighbour. As a young man, his escalating lies destroy his relationships, alienate his loved ones, and land him in hot water with police; but that doesn’t stop him from crying wolf again and again.
After undergoing a cosmetic treatment to recover her lost youth, a middle-aged woman finds herself reconnected to her alienated daughter - a young woman still searching for her own path in life - in an unexpected and incredible way. A modern-day fable from two-time Scotiabank Giller Prize nominee Pauline Holdstock.
“Hers is the kind of prose you get lost in.”
— National Post on The Hunter and the Wild Girl
“Holdstock’s writing manages to be both heartbreakingly poetic and densely detailed ... sad passages, ghostlike recollections, written almost from the vantage point of the present, establish the book as a great work of fiction.”
— The Globe and Mail on Into the Heart of the Country, longlisted for the 2011 Scotiabank Giller Prize
“Holdstock, with a few deft strokes, pulls the reader into the tumultuous life of an alluring rabble of characters: painters, sculptors, patrons, fools, and slaves . . . In Beyond Measure, she proves herself a master of pacing. Her lively, macabre plot trips lightly along in spite of its dark elements.”
— The Globe and Mail on Beyond Measure, finalist for the 2004 Giller Prize and the 2004 Commonwealth Writers' Prize
In a suburb that is nowhere and everywhere, Jorgen deals with the feelings of alienation and frustration from his collapsing relationship by getting into his car, putting on Patti Smith, and searching for meaning and belonging anywhere he can — regardless of whether he is welcome or wanted.
In the late 60s, the newest member of a group of all-female pearl divers — the ama — sees her life, and the lives of those dear to her, disrupted by an unlikely force: a James Bond film that sends American men to Japan in search of their own personal 'mermaids'.