Winter arrived here in Edmonton on November 1. It does that here—one day it’s fall, cool but lovely, and the next day it’s winter, snowy and cold. Even the geese who stop here on their way south were caught unawares by the sudden change.
This happens every year, and every year many are taken by surprise at the abrupt start to the winter. People scramble to find their winter-clothes; they line up to have winter tires put back on their cars. For this season, which is sometimes fully half the calendar year, it takes longer to get ready to leave the house, and it takes longer to get anywhere. This longest season of the year has an inevitable effect on the way people think and the way they interact with their world. If you live here, you simply can’t ignore what’s happening outside your window.
A few years ago, I wrote a flash fiction piece about snow and about winter. I’ve never tried submitting the story, mostly because I didn’t think it would mean much to anyone living south of the fifty-third parallel. Nonetheless, here’s the story, Dreaming of Snow. Enjoy!
He dreamed. All day the snow fell heavily and deliberately, dropping down in great white flakes that gathered themselves into clinging crystalline faces that vanished as they kissed the ground. The air was thick and alive with falling snow.
He sat on the couch and watched the gathering whiteness through the window. The snow fell and fell. It obliterated the green of pines and the brown of branches. It swirled and settled, leveling the ground to an implacable plain of whiteness that steadily rose and rose.
Once, he opened the front-door. It smelled sharp and clean and cold, and the snow hissed and sighed as it jostled its way down, filling the air with its crystalline whisper and clogging coldness. He closed the door.
Back at the window, he watched as the level of whiteness crept up the side of the house. He knew he was drowning, drowning in snow and cold. It would rise to the level of the window, then it would rise even higher, and it would bury the house—and keep falling and falling. Sooner or later, he would be entombed in snow.
Eventually, he would suffocate, or perhaps the inexorable weight of the falling snow would simply crush the house with him inside. Watching the white wall creep up the window, he knew he could do nothing. There was nothing to do save remember the dream of summer that had fled forever. And as he remembered sun and leaves and the song of birds, he could see individual snowflakes pressed against the glass, flakes that formed patterns and frozen faces, faces that peered in and took no account of the heat that for now still ran throbbing through his veins in a rhythmic pulse of denial.
A big thank you to Rebecca Leboeuf and the people at Penmen Review for picking up My Sister Maddie. This story has made the rounds of literary journals, so I’m thrilled that it has finally found a home.
My Sister Maddie began as a writing exercise. I haven’t tried this one often, but it can be helpful. Take a story or an excerpt from one of your literary mentors, then write something that models itself after that piece. You can try emulating language, character, or the way the piece creates setting. It works—for the most part. You will find that your own writing takes a different shape as it evolves. It’s a great way to get started or unstuck.
When starting My Sister Maddie, I used Alistair MacLeod’s “The Boat” (The Lost Salt Gift of Blood 1976) as a starting point. MacLeod writes stunning landscapes and character portrayals. I can’t do what MacLeod does, but I can aspire towards that kind of excellence.
Check out all the fine writing on the Penmen Review as well, and if you don’t know MacLeod’s work, then find a quiet afternoon and read one of his short stories. They are lyrical, poignant, and painful—from one of Canada’s best writers.
Writers create their best work using personal experiences. I use my life to write stories, but this is always an exercise in culling. Experiences can be interesting; however, interesting experiences don’t necessarily make good fiction.
Thanks to the fine people at The RavensPerch for picking up Flash Point. You can find the story here. I wrote Flash Point in response to an incident on Whyte Avenue while walking one evening with my daughter. The story is fiction, but most everything in the story actually happened—unusual, for me.
Finally, I usually don’t write as a means of making a point about an issue. Having said that, here’s a comment from the editors at The RavensPerch:
“Above all, thanks for reminding readers about the evils of bullying. We believe your piece can help make a difference.”
Enjoy the story, and make sure to check out the fine fiction and nonfiction at The RavensPerch.
Like many Edmontonions, I have a complex, confusing, and often resentful attitude toward the place I live. However, I’m less concerned with resolving these feelings than using them to write fiction.
My friend Tom Wharton posted a piece on his website about setting stories in Edmonton. You can read it here. He always encourages his creative writing students to write about this place in all its bifurcated glory. If you don’t know the city, it’s divided by the North Saskatchewan River, which makes it more two cities than one.
Here’s my latest story about Edmonton that features the High Level Bridge. Bridges appeared this month in Literary Orphans. Thanks to Scott Waldon and the people at the magazine for picking up the story.
If you live in Edmonton, you will understand Bridges in a particular way. If you don’t, I hope you can still appreciate the story.
A big thank you to Michael Bryson and The Danforth Review for publishing “Leaf and Branch.” It’s nice to have a piece appear in a Canadian magazine. These people have been doing what they do since 1999. In the magazine world, that’s longevity. Make sure and check out the other fine pieces in this month’s issue.
My brother, who is always a source for bits of news, told me the other night about a visually impaired man who fell onto the tracks of the SkyTrain in Vancouver. Fortunately, some quick-acting students were there to help the gentleman out of the tracks—just as the train was pulling in. You can read more of the story here.
For blind and visually impaired people, navigating public transit can be tricky—and sometimes just bloody dangerous. Buses are one thing: you wait, bus pulls into the stop, and you get on. Trains are different. For one, it’s a train. Trains don’t stop as quickly as buses, and you have to wait on a platform next to a four and a half foot drop into the tracks. If you can’t see, it’s hazardous.
In 2010, I was coming home by train on a snowy evening at the beginning of January. I got off the train at the South Campus station, which had opened the previous spring. I stepped off the train, turned left instead of right, and headed down the platform to get the bus.
My mistake was turning the wrong way after getting off the train. The platform was covered with almost an inch of snow. They hadn’t yet had a chance to clear it.
I was heading for what I thought was the steps to take me down and out of the station. Instead, I walked straight off the platform and fell onto the tracks.
My initial response, lying there on the tracks on my side, was having no idea what had just happened. It wasn’t until I reached out and grabbed one of the rails with a gloved hand that I understood. That’s when I started to hurt and knew I had to get off the tracks.
The track-bed isn’t especially deep—until you’re standing in it. Try scrambling up onto a platform, slippery with new-fallen snow and level with your chest, while you are in shock and can’t breathe because you’ve just had the wind knocked out of you.
Fortunately, someone spotted me. A man ran over, and soon two people were hauling me up onto the platform. Other people came, and I was helped to my feet and onboard the train while the driver called for an ambulance. A slightly scared and completely sincere eight-year-old boy tried to comfort me while we waited for the paramedics. He insisted his grandpa would help fix my cane, which had gotten bent in the fall. The paramedics arrived, announced me injured but more or less intact, and gave me the choice of going home or to the hospital. Given the choice, I went home. They drove me the seven minutes back to my house, and I was never so glad to reach my own front door.
I fractured two ribs in that fall, and it took me all of eight weeks to recover. It wasn’t until February that I started taking the train once again—more carefully, as you can imagine.
I’ve gotten myself into all sorts of situations over the years, but rarely have I felt so helpless and in need of assistance. Strangers helping strangers is a powerful thing, and I’ve always been grateful to those people who helped me out on that snowy evening in January, especially that little boy, who understood the importance of helping out, and did his best to give me the comfort and reassurance he could.