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WINNER 2019 SCOTIABANK GILLER PRIZE Reproduction is an energetically told, funny, and moving novel about--as the author himself has said--"how strangers become family." Set over three decades, from the early eighties through the 2000s, mainly in the socio-economically mixed and culturally diverse Toronto neighborhood of Brampton, Reproduction tells the story of Felicia, a nineteen-year-old student from a West Indian family, and Edgar, the lazy-minded and impetuous heir of a wealthy German family. The two meet by chance when their dying mothers are assigned the same hospital room. After the death of Felicia's mother, and the recovery of Edgar's, Felicia drops out of high school and takes a job as caregiver to Edgar's mother, only to eventually become Edgar's lover. They are an odd couple indeed, but their affair, ripe with miscommunications, misunderstandings, and reprisals for perceived and real offenses, results in a pregnancy. The story leaps forward more than a decade and Felicia's son, Armistice, "Army," for short, is a teenager fixated on a variety of get-rich-quick schemes that are as comic as they are indicative of the immigrant's fear of falling through the cracks. Army and Felicia rent a home in a duplex from Olivier, a divorcee with two kids around Army's age. Here the book's second happenstance "family" is introduced. Edgar re-enters their lives at a typically (for him) inopportune moment, and provides the catalyst for the book's conclusion, which sees Felicia and Edgar reunited, in a sense, in illness, neatly closing the story's arc. Reproduction is a crooked love story, one in which love takes strange, winding paths and evolves within a context shaped not by solitude but by community and the fleeting interactions with people that leave their marks on us forever.
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This Giller shortlisted book opens with 23 sections, alternating between 19 year old Felicia Shaw from an undisclosed Caribbean island and Edgar Gross, an affluent, middle-aged German, heir to some vague family interest. They meet in a shared hospital room, tending to their respective mothers who are both near death.
The 23 sections represent the number of chromosome pairs found in DNA. From there the novel begins to reproduce. Part 2 jumps ahead a few years and we alternate between 4 voices times 4 to make 16 sections. Part 3 is comprised of 16x16 or 256(!) sections. The book can't keep up with this exponential growth and finally develops cancer. Super- and sub-script words insinuate themselves across the page, telling a familiar yet disjointed story. Explaining it seems altogether too much but I enjoyed the constraints Williams placed on the structure.
Williams has a poet's ear for language. He nails the privileged white guy apologist in the crosshairs of the #MeToo movement; the fast talking, big dreaming, bi-racial tween hustler working from the garage of his landlord's garage in Brampton; to the out-of-step, Portuguese, suburban, divorced dad that can't quite reconcile his long past glories with his present day indignities. Multiculturally, unapologetically Canadian.
Both slyly funny and casually devastating, it pokes at the idea of nature vs nurture, asking if we can ever hope to escape our own histories, and exploring both the family you're born into and the ones you make.
TL;DR - just watch the video review: https://youtu.be/7xQv7F8tiMQ
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