Excerpt from Unless by Carol Shields, plus links to reviews, author biography & more

   But I didn't know any of this when I sat in that Burgundy garden dreaming about writing a novel. I thought I understood something of a novel's architecture, the lovely slope of predicament, the tendrils of surface detail, the calculated curving upward into inevitability, yet allowing spells of incorrigibility, and then the ending, a corruption of cause and effect and the gathering together of all the characters into a framed operatic circle of consolation and ecstasy, backlit with fibre-optic gold, just for a moment on the second-to-last page, just for an atomic particle of time.

   I had an idea for my novel, a seed, and nothing more. Two appealing characters had suggested themselves, a woman and a man, Alicia and Roman, who live in Wychwood, which is a city the size of Toronto, who clamour and romp and cling to the island that is their life's predicament--they long for love, but selfishly strive for self-preservation. Roman is proud to be choleric in temperament. Alicia thinks of herself as being reflective, but her job as assistant editor on a fashion magazine keeps her too occupied to reflect.

   9. And I had a title, My Thyme Is Up. It was a pun, of course, from an old family joke, and I meant to write a jokey novel. A light novel. A novel for summertime, a book to read while seated in an Ikea wicker chair with the sun falling on the pages as faintly and evenly as human breath. Naturally the novel would have a happy ending. I never doubted but that I could write this novel, and I did, in 1997--in a swoop, alone, during three dark winter months when the girls were away all day at school.

   10. The Middle Years, the translation of volume three of Westerman's memoirs, is coming out this fall. Volume three explores Westerman's numerous love affairs with both men and women, and none of this will be shocking or even surprising to her readers. What is new is the suppleness and strength of her sentences. Always an artist of concision and selflessness, she has arrived in her old age at a gorgeous fluidity and expansion of phrase. My translation doesn't begin to express what she has accomplished. The book is stark; it's also sentimental; one balances and rescues the other, strangely enough. I can only imagine that those endless calcium pills Danielle chokes down every morning and the vitamin E and the emu oil capsules have fed directly into her vein of language so that what lands on the page is larger, more rapturous, more self-forgetful than anything she's written before, and all of it sprouting short, swift digressions that pretend to be just careless asides, little swoons of surrender to her own experience, inviting us, her readers, to believe in the totality of her abandonment.

  Either that or she's gone senile to good effect, a grand loosening of language in her old age. The thought has more than once occurred to me.

   Another thought has drifted by, silken as a breeze against a lattice. There's something missing in these memoirs, or so I think in my solipsistic view. Danielle Westerman suffers, she feels the pangs of existential loneliness, the absence of sexual love, the treason of her own woman's body. She has no partner, no one for whom she is the first person in the world order, no one to depend on as I do on Tom. She does not have a child, or any surviving blood connection for that matter, and perhaps it's this that makes the memoirs themselves childlike. They go down like good milk, foaming, swirling in the glass.

   11. I shouldn't mention Book Number Eleven since it is not a fait accompli, but I will. I'm going to write a second novel, a sequel to My Thyme Is Up. Today is the day I intend to begin. The first sentence is already tapped into my computer: "Alicia was not as happy as she deserved to be."

I have no idea what will happen in this book. It is a mere abstraction at the moment, something that's popped out of the ground like the rounded snout of a crocus on a cold lawn. I've stumbled up against this idea in my clumsy manner, and now the urge to write it won't go away. This will be a book about lost children, about goodness, and going home and being happy and trying to keep the poison of the printed page in perspective. I'm desperate to know how the story will turn out.

Copyright Carol Shields 2002. All rights reserved. Reproduced by permission of the publisher, Harper Collins. No part of this book may be reproduced without written permission from the publisher