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Reviews/ Comptes- Rendus 26 Roumanianshtetl music, which I hired on the spot. Canadian klezmermusic, we should all live so long-or, The anniversaryparty was a huge success;everyone perhaps, seeinghow tv often treats music, we might be marvelled at the repertoire of familiar shtetl music. My better off without it! -G. W.L.) mother went over to one of the men to inquire how come he knew theseold songs. Guesswhat! He camefrom Botosani, Pleaseaccept my congratulations...for the excellent job a town near my parents' shtetl, and believe it or not, his that you've done in reviving the Bulletin. I really do father, a klezmer there, had played at my parents' wedding! believe that it's the life blood of the Societyand that the Keep up the good work. I feel that one of the reasons Society's future dependson a healthy Bulletin. It's the for much of our social malaisetoday is that the chain principal (almost the only) significant meansof betweengenerations is being severed.And folk lore in any communicationwith the membership-few memberscan form, but especially folk music, is the bond. afford to get to the Annual Meeting, and even if many could, a once-a-yearcommunication isn't enough. Thanks Ghitta Sternberg again and cheers! 359 WisemanAve Outremont QC Hugh Hendry H2V 317 313 Egbert Ave. SaskatoonSask. [We, of course, thank you for providing the centrepiece for S7N lX2 the issue. Your anecdoteis lovely; as corny as it may sound to say. this is a small world. Asfor televisedrecognition l?f Reviews/ Comptes-rendus Books An Unfinished Conversation: The Life and Music of Stan Rogers. Chris Gudgeon.Toronto: Viking. 1993. 217 pages Canadabadly needsbooks about Stan Rogers. Little has beenwritten about Stan since his deathin 1983, and much of what has beenwritten is ill-informed. Which is no surprise; Stan was never part of the mainstreammusic industry, and most mainstreammusic writers of the time were oblivious of the folk music scene,if not actually patronizing or contemptuousof it. As a result, not much was written about Stan while he was alive, and now that he's posthumouslybeing recognizedas a songwriting genius and a major influence in Canadianmusic, current writers who weren't part of the era have little to go on in getting the feel of the times and Stan's part in them. Most of what has been written about Stan since his death (with the exception, of course, of the Bulletin's tributary issue) has beenwritten by outsidersfor outsiders,and it shows! So it's about time that a book-lengthwork of substanceappeared. But this long-awaitedmilestone turns out to be a disappointment,showing the marks of too little researchand too much acceptanceof informants at face value. Not that it's without its merits; it servesas a worthwhile introduction to Stan's life and work for those who are meetingwith him for the first time. It's a valuable treatmentof Stan's early years and influences, including the early part of his musical career-people who know Stan as a performer but not as a personwill find much to fascinatethem. There's a collection of photos which are likely the most completeassemblage av,ailable outside of Stan's family. (Not that the pictures are numerousor artistic-there'll never be a Stan Rogerscoffee table book! But it's documentationnever before seenby most of us.) So what are the problems?Why do I leave the book feeling unsatisfiedwith the portait of Stan Rogerspainted by Chris Gudgeon?For one thing, there's just too little meat on the boneshere-even less than appearsat first glance. Perhapsin an effort to give backgroundto the Canadianfolk music sceneof the '70s and early '80s, Gudgeonhas included numerousthumbnail sketchesof various Canadianperformers of the time, with quotesfrom them concerningStan. Trouble is, many of the quotesare not very illuminating, many of the performerswere not really part of Stan's world (for example,Stompin' Tom Connors), and, whatever the author's intention, the techniquegives the impressionof padding, to take material sufficient for a healthy magazine article and plump it out to book length, as well as name-dropping,to bolster the author's credibility. And credibility is in questionhere. For one thing, the author presentsa one-sidedpicture of Stan Rogersas a person. The dark side of Stan's nature, which most people who had dealingswith him will attest to, is barely hinted at. In a passagewhich neatly managesto insult Canadiansand Americansat the sametime, Gudgeonwrites that Stan "was an immediatehit with American audiences[because]... his personality was probably better suited [to] the American temperament.Like it or not, Canadianstend to be compliant and polite, two adjectivesrarely used to describeStan Rogers. On the contrary, he was brash and demanding,which is exactly how Americansexpect talentedpeople to behave." However, any stories of "brash and demanding" behaviour recountedin the book are of the "lovable scamp" variety. The Stan Ro~erswho could set fire to a stran,ger'sCadillac 27 as a political statement,the Stan Rogerswho could take a chair to someonehe was angry with, even the Stan Rogerswho loved good food and drink and was good at sticking others with the bill, is absentfrom thesepages. Gudgeon refers to the "Saint Stan" phenomenon,and by implication distanceshimself from it, but he has in fact seatedhimself firmly among the hagiographers. Another matter barely touchedon is the litigious estrangementwhich developedafter Stan's deathbetween his wife, Ariel, and the rest of his family, and this raisesanother question concerningthe book. Gamet Rogers, Stan'sbrother and musical partner, probably the richest potential sourcefor information concerningStan's music and life, especiallyin his last years, has statedpublicly that he was never consultedby the author. (This despitea passagein the acknowledgementsthanking Stan's parentsand Garnet for "all their help.") The quotationsfrom Gamet were presumablyobtained at secondor third remove. At the sametime, Stan's wife is relied upon heavily for quotesand information. Are we dealing here with an Authorized Biography?Or just an insufficiency of research?Whatever the answer, it's one more deficiency which contributesto the incompletepicture of Stanas a humanbeing presentedhere. My son (who was 10 when Standied, and barely remembershim) tells me that he learned more about Stan Rogers'spersonality from the brief commentaryaccompanying the songsin Songs from Fogarty's Cove (the songbookpublished by OFC Publications)than he did from the 134 pagesof text in An Unfinished Conversation. This book in fact duplicatesthe efforts of the songbookby including in an appendixthe lyrics of most of Stan's songs(but without music). A secondappendix includes a Stan Rogersdiscography (not including the early years, but only the records available at present), as well as a scattergunlisting of Canadiantraditional music recordsand those of contemporaryartists either presumedto be influenced by Stan's music or having some tie-in with the book's theme, or... well, for somethe connectionis obscure,but they're good records, and it's good to let people know about them. Also included is a nice mention of CSMT, which has already gained us a number of new members.It would havebeen even nicer if our addresshad beencorrect! This book, despiteits shortcomings,is important by the mere fact of its existance,and should be in the collection of anyone who takesan interest in folk music in Canada.Let's hope that healthy salespoint the way for other enterprisingwriters and publishers. Unfortunately, the need for a work of substanceon the life, times, careerand personalityof Stan Rogersremains unmet. John Leeder Dan Yashinsky. The Storyteller at Fault. RagweedPress, Charlottetown, Prince Edward Island. 1992. 63 pages. It is perhapsnot too unreasonableto speculatethat one major causeof the positive statusof the storytelling scenein Canada is the excellent work and efforts of the Storytelling School of Toronto, and one of its major contributors to this effort is Toronto writer and storyteller Dan Yashinsky. Severalyears ago, through his years of toil and effort, one of the most innovative story collections was published, Tales for an Unknown City, Stories from the 1001 Friday Nights of Storytelling, documentingthe various elementsof the storytelling scenein Toronto itself through its diverse tellers and groups of indivduals making up this city's unique mosaic. Now Yashinsky has combined his talents both asa writer and as a raconteurto produceThe Storyteller at Fault, and although ostensibly written for children, this delightful storyteller's fantasycan be enjoyed by both young and old alike. Yashinsky tells the tale of a storyteller who is about to be executedby his king becausethe monarchis afraid his yarnspinner is getting too old to rememberstories and wishes to replacehim with an artificial constructwho will be a memory holder and will never forget stories within its being. In order to savehis life, the king's own teller tells the monarchone final tale in which a number of stories are cunningly spun, one eachevening, in the samemanner as the Arabian Nights Entertainments.In this effort, Yashinsky draws upon his knowledgeof world folk literature to tell a group of stories from suchdiverse sourcesand placesas Scotland, Norway, Uganda, Israel, Japan,Persia, and Portugal, among other countriesof the world. Most of the tales are traditional in origin, although Yashinsky freely useshis skills as a writer to make neededadaptations to accountfor modern phrasesand settings. Personalfavorites include the Japanese"Master of the Tea Ceremony," in which a gentle soul teachesa proud samuraithe meaningof humility, "The Bird Color of Time," an unusualretelling of how the wren becameking of the birds, and "The Silent Prince," itself a frame story using severaltales within its plot to tell how a clever princessmanaged to make a hitherto silent prince speakhis first words. Perhapsthe most cunning tale in this collection is "Ali the Persian'sBag," which can only be describedas a pure flight of magical whimsey extraordinary.
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