Información de la editorial
On Douglas Coupland’s website, there is a photograph from his art installation, Tropical Birds (2003). The installation includes a scene based on the reports of how the cafeteria appeared to rescuers and officials after the massacre at Columbine High School: backpacks strewn across tables and the floor, chairs knocked over, lunches unfinished. The accompanying audio track plays the sounds of birdsong. The piece was born out of rescuers’ comments that the sound of cellphones and pagers ringing in student backpacks – “like birds chirping” – combined with the gush of sprinklers to seem almost surreally tropical. Of course, the horror is that the phones and pagers announced desperate parents trying to reach their children.
The 1999 Columbine massacre was one impetus for Hey Nostradamus!, as it and other events, such as the École Polytechnique shootings and the attacks of 9/11, prompted Coupland to look at how we collectively deal with horror, grief and faith. Even the epigraph for the book, a passage from 1 Corinthians, is taken from a headstone of one of the Columbine victims. Though he did not have a religious upbringing, Coupland considers himself a very religious person, and over the years has found himself more and more interested in exploring questions of God and belief in his work.
Coupland approached writing Hey Nostradamus! like he does all of his novels: as he would an artwork – for him, the media are the same. As he commented in one interview, “What I do know is that there are certain feelings you can create within yourself and within someone engaging with what you’ve done that you can only get from looking at an art object, that you can’t get from words, and vice versa. And I don’t make that many distinctions in my head, I don’t see them as being very different from each other. I entered writing with words quite literally being arts supplies as objects, through Jenny Holzer and text art, and then the text art became long-form fiction, so in my head, I think of the new book, or the new novel, as being an art exhibition, and it’s different from the books that came before it.”
In fact, Coupland originally set out to be a designer and artist, in the conventional sense. He graduated from the sculpture program at Vancouver’s Emily Carr College of Art and Design in 1984, then attended the European Design Institute in Milan, Italy, and the Hokkaido College of Art and Design in Sapporo, Japan. In 1986, he completed a two-year course in Japanese business science along with fine art and industrial design. After taking on writing projects over the years, Coupland happened upon fame as a novelist when his first book, Generation X (1991), achieved unexpected and meteoric success. Since then he has published fourteen books of fiction and non-fiction, including the novels Microserfs (1995), Miss Wyoming (1999) and All Families Are Psychotic (2001), and the bestselling cultural explorations City of Glass (2000), Souvenir of Canada (2002) and Souvenir of Canada 2 (2004). In all, his work has been translated into 22 languages and published in 30 countries.
Douglas Coupland writes because it is something he simply loves to do. “What I found over the years is that since 1991 we’ve been through massive cultural, social, technological changes, and the only thing that protects me or you or anyone, the only thing that can protect you in all this is figuring out what it is that you like to do, and then sticking with it. Because once you start to do what people expect you to do, or what your parents think you should do, or whoever in your life thinks you should do, you’re sunk.” However, when one interviewer commented on his seemingly prolific writing career, Coupland disagreed. “I’m not the least bit prolific,” he responded. “I look at people with hard jobs and kids, and to me they’re the ones who are fantastically prolific.”
Though he was born on a Canadian Armed Forces base in Baden-Söllingen, Germany, in 1961, Douglas Coupland has made the Vancouver area his home since the age of four, and can hardly imagine living anywhere else. He currently lives in West Vancouver, in a Ron Thon-designed house, where he works as a writer, designer and visual artist. His art has recently appeared in San Francisco, Milan and Vancouver, and will be featured in upcoming shows in Toronto, London and Montreal. He has won two Canadian National Awards for Excellence in Industrial Design, and Hey Nostradamus! was nominated for the 2004 Commonwealth Writers Prize for Best Book (Canada & Caribbean) and won the Canadian Authors Association Award for Fiction.
From the Hardcover edition.
Detalles
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Título
Hey Nostradamus!
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Autor
Douglas Coupland
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Encuadernación
Tapa blanda
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Edición
Reprint
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Páginas
256
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Volúmenes
1
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Idioma
ENG
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Editorial
Vintage Books Canada, Toronto
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Fecha de publicación
2004-06-29
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ISBN
9780679312703 / 0679312706
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Dewey Decimal Code
FIC
Extracto
Part One
1998: Cheryl
I believe that what separates humanity from everything else in this world -- spaghetti, binder paper, deep-sea creatures, edelweiss and Mount McKinley -- is that humanity alone has the capacity at any given moment to commit all possible sins. Even those of us who try to live a good and true life remain as far away from grace as the Hillside Strangler or any demon who ever tried to poison the village well. What happened that morning only confirms this.
It was a glorious fall morning. The sun burned a girly pink over the mountain ranges to the west, and the city had yet to generate its daily smog blanket. Before driving to school in my little white Chevette, I went into the living room and used my father's telescope to look down at the harbor, as smooth as mercury, and on its surface I could see the moon dimming over East Vancouver. And then I looked up into the real sky and saw the moon on the cusp of being over-powered by the sun.
My parents had already gone to work, and my brother, Chris, had left for swim team hours before. The house was quiet -- not even a clock ticking -- and as I opened the front door, I looked back and saw some gloves and unopened letters on the front hallway desk. Beyond them, on the living room's gold carpet, were some discount warehouse sofas and a lamp on a side table that we never used because the light bulb always popped when we switched it on. It was lovely, all that silence and all that calm order, and I thought how lucky I was to have had a good home. And then I turned and walked outside. I was already a bit late, but I was in no hurry.
Normally I used the garage door, but today I wanted a touch of formality. I had thought that this morning would be my last truly innocent glance at my childhood home -- not because of what really ended up happening, but because of another, smaller drama that was supposed to have unfolded.
I'm glad that the day was as quiet and as average as it was. The air was see-your-breath chilly, and the front lawn was crunchy with frost, as though each blade had been batter fried. The brilliant blue and black Steller's jays were raucous and clearly up to no good on the eaves trough, and because of the frost, the leaves on the Japanese maples had been converted into stained-glass shards. The world was unbearably pretty, and it continued being so all the way down the mountain to school. I felt slightly high because of the beauty, and the inside of my head tickled. I wondered if this is how artists go through life, with all of its sensations tickling their craniums like a peacock feather.
* * *
I was the last to park in the school's lot. That's always such an uneasy feeling no matter how together you think you are -- being the last person there, wherever there may be.
I was carrying four large binders and some textbooks, and when I tried shutting the Chevette's door, it wouldn't close properly. I tried slamming it with my hip, but that didn't work; it only made the books spray all over the pavement. But I didn't get upset.
Inside the school, classes were already in session and the hallways were as silent as the inside of my house, and I thought to myself, What a day for silence.
I needed to go to my locker before class, and as I was working my combination lock, Jason came up from behind.
"Boo."
"Jason -- don't do that. Why aren't you in class?"
"I saw you parking, so I left."
"You just walked out?"
"Forget about that, Miss Priss. Why were you being so weird on the phone last night?"
"I was being weird?"
"Jesus, Cheryl -- don't act like your airhead friends."
"Anything else?"
"Yes. You're my wife, so act like it."
"How should I be acting, then?"
"Cheryl, look: in God's eyes we're not two individuals, okay? We're one unit now. So if you dick around with me, then you're only dicking around with yourself."
And Jason was right. We were married -- had been for about six weeks at that point -- but we were the only ones who knew it.
* * *
I was late for school because I'd wanted everyone out of the house before I used a home pregnancy test. I was quite calm about it -- I was a married woman, and shame wasn't a factor. My period was three weeks late, and facts were facts.
Instead of the downstairs bathroom I shared with my brother, I used the guest bathroom upstairs. The guest bathroom felt one notch more medical, one notch less tinged by personal history -- less accusatory, to be honest. And the olive fixtures and foil wallpaper patterned with brown bamboo looked swampy and dank when compared to the test's scientific white-and-blue box. And there's not much more to say, except that fifteen minutes later I was officially pregnant and I was late for math class.
* * *
"Jesus, Cheryl . . ."
"Jason, don't curse. You can swear, but don't curse."
"Pregnant?"
I was quiet.
"You're sure?"
"I'm late for math class. Aren't you even happy?"
A student walked by, maybe en route to see the principal.
Jason squinted like he had dust in his eyes. "Yeah -- well, of course -- sure I am."
I said, "Let's talk about it at homeroom break."
"I can't. I'm helping Coach do setup for the Junior A team. I promised him ages ago. Lunchtime then. In the cafeteria."
I kissed him on his forehead. It was soft, like antlers I'd once touched on a petting zoo buck. "Okay. I'll see you there."
He kissed me in return and I went to math class.
* * *
I was on the yearbook staff, so I can be precise here. Delbrook Senior Secondary is a school of 1,106 students located about a five-minute walk north of the Trans-Canada Highway, up the algae-green slope of Vancouver's North Shore. It opened in the fall of 1962, and by 1988, my senior year, its graduates numbered about thirty-four thousand. During high school, most of them were nice enough kids who'd mow lawns and baby-sit and get drunk on Friday nights and maybe wreck a car or smash a fist through a basement wall, not even knowing why they'd done it, only that it had to happen. Most of them grew up in rectangular postwar homes that by 1988 were called tear-downs by the local real estate agents. Nice lots. Nice trees and vines. Nice views.
As far as I could tell, Jason and I were the only married students ever to have attended Delbrook. It wasn't a neighborhood that married young. It was neither religious nor irreligious, although back in eleventh-grade English class I did a tally of the twenty-six students therein: five abortions, three dope dealers, two total sluts, and one perpetual juvenile delinquent. I think that's what softened me up for conversion: I didn't want to inhabit that kind of moral world. Was I a snob? Was I a hypocrite? And who was I to even judge? Truth be told, I wanted everything those kids had, but I wanted it by playing the game correctly. This meant legally and religiously and -- this is the part that was maybe wrong -- I wanted to outsmart the world. I had, and continue to have, a nagging suspicion that I used the system simply to get what I wanted. Religion included. Does that cancel out whatever goodness I might have inside me?
Jason was right: Miss Priss.
From the Hardcover edition.
Reseñas en medios
“[Douglas Coupland’s] focus is always on the moral implications, on human relationships and feelings. There is an almost spiritual aspect to his work that makes it emotionally compelling, and redemption is always at hand to pull his vision back from the brink of apocalypse. But more important perhaps, Coupland can write beautifully.” -- Toronto Star
“Coupland, once the wise guy of Generation X, has become a wise man.” -- People Magazine
"Fate is the psychological trigger in this often-hilarious novel, and Coupland knows when to trip the emotional safety catch." -- Elle Canada
"In Hey Nostradamus!, Coupland takes an insightful look at religion, loss and forgiveness and how everyone is always looking for, as he puts it, the 'equation that makes it all equate.' " -- Calgary Herald
“…[I]n Hey Nostradamus!, Coupland has fashioned his most serious and mature novel so far, mixing his youthful, exuberant prose with a certain compassion and restraint we haven’t seen from him before.…The leading literary voice of the most cynical generation lets it all out in a blaze of spirituality, terror, high comedy and soul-searching, and does it all in a way that is caring and clever, heart-breaking and hilarious, tough and tender. Hey Nostradamus! is not only Coupland’s best novel, but also one of the best of the year.” -- Hamilton Spectator
“…profoundly topical…[R]eligious angst has never been made so entertaining.” -- National Post
“Coupland’s writing is brilliant.” -- Canadian Press
“ …[Coupland] gets us thinking about spirituality and the meaning of life, and no matter how bad things get, when you put the book down you can’t help but feel hope, which is a comfort.” -- Georgia Straight
“…moving and tenderly beautiful….replete with Coupland’s breathtaking observations on consumer culture.” -- Vancouver Sun
Praise for Douglas Coupland:
“The intelligence and humour of Coupland’s prose engages the mind while the unabashed yearning of his characters hooks the heart.” -- Maclean’s
Praise for All Families Are Psychotic:
“As rich as an ovenful of fresh-baked brownies and twice as nutty. . . . Everyone with a strange family -- that is, everyone with a family -- will laugh knowingly at the feuding, conducted with a maestro’s ear for dialogue and a deep understanding of humanity. Coupland, once the wise guy of Generation X, has become a wise man.” -- People magazine
“It seemed paradoxical that a writer so revered for his hipness resembles, in practice, nobody so much as Jane Austen.... In the resultant unravelling there isn't a boring page.” -- The Literary Review
Praise for Miss Wyoming:
“The intelligence and humour of Coupland’s prose engages the mind while the unabashed yearning of his characters hooks the heart.” -- Maclean’s
Acerca del autor
DOUGLAS COUPLAND is a Canadian writer, visual artist, and designer. His first novel is the 1991 international bestseller Generation X: Tales for an Accelerated Culture, still celebrated for its biting humour and cultural relevancy thirty years since initial publication. He has published fourteen novels, two collections of short stories, and eight nonfiction books. He has written and performed for England's Royal Shakespeare Company, is a columnist for The Financial Times of London, and a frequent contributor to The New York Times. In 2000 Coupland amplified his visual art production and has recently had two separate museum retrospectives, Everywhere Is Anywhere Is Anything Is Everything at the Vancouver Art Gallery, The Royal Ontario Museum, and the Museum of Contemporary Canadian Art, and Bit Rot at Rotterdam's Kunstinstituut Melly and Munich's Villa Stcke. In 2015 and 2016 Coupland was artist in residence in the Paris Google Cultural Institute. In May 2018, his exhibition on ecology, Vortex, opened at the Vancouver Aquarium. Coupland is a member of the Royal Canadian Academy, an Officer of the Order of Canada, an Officer of the Order of British Columbia, a Chevalier de l'Ordre des Arts et des Lettres, and a recipient of the Lieutenant Governor's Award for Literary Excellence.
