Eden Robinson’s collection of short stories, Traplines, brings four troubled teenagers to life. Each of the four, Will, Lisa, Tom, and Adeline, is victimized by adults who should have protected them. Will has two alcoholic parents, the only one of the four with both parents in the home. Their alcoholism contributes to the fact that the father physically abuses the older, who in turn, takes his rage out on Will.
Lisa is the daughter of a serial killer. Her mother’s victims include Lisa’s father and her aunt. Aunt Genna, along with Lisa’s foster parents, are the only adults in her life to show her real love.
Tom’s mother, both alcoholic and promiscuous, leaves him alone most of the time. Her mental abuse is augmented by Tom’s psychotic cousin, who after being acquitted of killing a fellow soldier, comes to live with them. He mentally and physically abuses the boy.
The fourth story, the best, is jam-packed with vivid descriptions, and use of subtext to show the dreadful abuse. Her mother’s live-in boyfriend sexually abuses sixteen-year-old Adelaine. The reader never sees the sex, but Robinson is masterful in her use of subtext to make the unseen rape, all the more horrific. She convinces the reader that Adelaine’s mother is aware of the ongoing sexual abuse but chooses to ignore it.
Robinson’s portrayal of these troubled teenagers struggling with dysfunctional families has the reader’s attention from the first line to the last. Each story begins with a sentence that provides a strong visual image, but not necessarily something seemingly important.
Traplines begins with, “Dad takes the white marten from the trap” (3). This short sentence tells the reader a great deal. Father and son are working together, most likely in a Canadian forest, trapping for profit, not food. Trapping of fur animals is one of the few activities father and son share. This relationship may be what Robinson uses to establish the fact that the father limits his physical abuse to the older son who in turn, abuses his younger brother.
In “Frog Song,” Robinson treats the reader to an opening scene full of imagery followed by paragraphs that give the reader palpable sensations.
Felt—cold, wind, grass, sand, water,
Seen—sunset, fishing boat, river and current, dark silhouettes,
Heard—hiss of grass in wind, croaking of frogs, old diesel engine,
Smelled—sea air, rotting smell, old and abandoned buildings.
Her choice of words fills the pages with imagery—imagery that pulls the reader into one after another. “Whenever I see abandoned buildings, I think of our old house in the village, a rickety shack by the swamp where the frogs used to live. It’s gone now” (185).
In “Contact Sports, Robinson shows just how psychotic the cousin is while torturing Tom. “Jeremy smoked his cigarette until it was almost gone, and then he stubbed it out on Tom’s shoulder” (177). If this isn’t visceral enough, she continues the torture a few paragraphs later. “Jeremy started a third cigarette, which he slowly inserted up Tom’s nostril” (177).
Robinson doesn’t limit the delivery of physical harm to that provided by her antagonists. In “Dogs in Winter,” Lisa attempts suicide on three separate occurrences, each time failing miserably. For her first attempt, she counts on aspirin as her gateway to death. “Deciding to get it all over with at once, I stuffed a handful into my mouth. God, the taste. Dusty, bitter aspirin crunched in my mouth like hard-shelled bugs. My gag reflex took over, and I lost about twenty aspirin on my quilt” (51). No one who has ever tasted a dry aspirin can fail to experience the imagery in this scene.
If for no other reason than a lesson in imagery, Trap Lines is worth the read. Each of these four troubled teenagers is trapped within the lines surrounding their lives.