"I get confused, but I try not to.
I help out in town. But I didn’t help Father. I tried, but he died. His name is Paul, just like Kevin’s Dad. Kevin says Dad, not Father, and I find it very strange.
Things happen backward. And they happen at the same time.
Sometimes I can tell the difference."
The author, Matt Mott (my personal coffee brewer for over a year) starts us off with a lurking, literary tone that was a joy to read. His detail and his “turned around” phrasing were efficient and creative. Very quickly, though, page two tilts us with two uses of capitalized West that have no business being capitalized. I stopped, said ‘huh’, and read the back cover and author bio. Writers who submit to The Fiddlehead and the Malahat Review do not make such basic mistakes. I assumed it must be intentional. As the story wore on and no further grammatical miscues emerged, my suspicions grew. As the unreliable style (see the supplied snippet) continued, I became entranced with this mystical form of writing. Intentional tense errors and more subtle capitalization. Take for instance, “I was sad to see him go. I would have at least imagined telling him about the trees.” A combination of indicative and conditional perfect tenses that does not technically work, unless you are intentionally trying to throw the reader off with difficult to pin down subtlety. And then there are the dozens of italicized words. He has two italicized sections. One is a letter, which makes sense, but the other is a normal section. Why? Is this an error or another functional jolt? And why the emphasis on key words? Was it a hidden message?
Finding Woods is a heavy story in three parts, the Riley part, the Kevin part, and the Jaimie part. It’s a story whose main antagonist is undefined, a nameless, formless, timeless one. A demon if you want to believe that, but it is never said. The author uses technique otherwise discouraged. He writes fragmented thoughts. He jumps between characters and voices, between settings, between times. His purpose seems to be to throw us off and never let us get grounded. The snippet provided is by this later-named ‘Anthony Perkins’ (which any horror fan will right away know cannot be the name of a demon but is the name of a horror actor (Psycho II) whose last movie was suspiciously called ‘In the Deep Woods’. And of course this demon had previously claimed to be invincible to humans. The author also belabors over details. Back and forth banter not saying much substantial but driving the reader into this back and forth void. Riley and his mother’s conversation could have take place in twenty words but it extends for pages. When we finally reach a climax with this girl (I think she’s a girl; she takes showers with the soccer players Andrew and Corey while in school, yet later he/she’s treated as a girl. Another back and forth intentional ambiguity?) Jaimie, and she is beside herself with sections of town and highway disappearing into trees which nobody sane notices, is obsessed with taking warm, comfortable showers washing herself of and reminding herself of the internal goo of a living creature. When we finally get to the Perkins, we’ve been driven into this interminable hole so deeply we have no other choice but to believe. Even when Anthony Perkins slaps (not stabs or cuts) Jaimie with a butcher knife, and she, the weaker female or male, knocked down and bleeding, somehow overcomes the unconquerable and slaps him to death with his own butcher knife, we somehow feel this is right and true, that events throughout the province of New Brunswick and chronicled in folklore have a root cause in this dead actor.
The book is even more exhausting than this review, but it works. It’s a great example of how form can dominate substance, and even though I could never believe any of the nonsense this book is based upon, I’m very glad I read it.