Winner of the 2013 Governor General’s Award for Drama
Plays are often times collected together in a similar way to short stories and published as a multi-work volume. The works can sometimes be related – by setting, characters, themes, etc – but often times are not. Some of these collections have been mainstays in drama libraries and curriculum across the country (The East End Plays by George F Walker for example). Occasionally as well, these books have won the Governor General’s Award for Drama because they are better able to show off a writer’s skill and depth; in fact three of the last eight winners have been collections, including 2013 and 2014. Fault Lines: Three Plays is the first such volume that I have read. Nicolas Billon’s collection, his second published book, contains three plays, 2009’s Greenland, 2012’s Iceland and 2013’s Faroe Islands. This book absolutely blew me away; Fault Lines was one of the best books I have read all year. Full stop. End of statement.
Looking at the titles of the three individual plays, there is an obvious relation – all are northern island nations (and Scandinavian states as Greenland, for now, is still under Danish rule) with small populations and insular cultures. But, the relation of the three plays for the most part ends there. There is no character crossover, no related plot lines, and even thematically, other than some very broad ideas which I’ll get into later, there is only minimal crossover. Each of these plays has its own set of circumstances and fascinating characters. Greenland uses the discovery of a small new island by a glaciologist as a reflector of his disintegrating family situation. Iceland, set in Toronto, uses an Estonian prostitute, a bible thumper, and a greasy real estate agent as an allegory for capitalism and the fall of communism in Eastern Europe. And Faroe Islands deals with the whale hunt in that country and looks at the hypocrisy often present in the most vocal of activists. Each of these plays has its own writing and staging style, themes, structure, and its own charm.
The delivery of these works is very different from any play I’ve ever read. All three unfold using monologues. Greenland and Iceland are told through intertwined monologues by three different characters, and Faroe Islands is told by a single character. In a way, Fault Lines closely resembles a series of short stories being relayed to you directly by the characters (not simply a first person POV). There is no back-and-forth dialogue and very few stage directions. Even set design would be very minimalistic; I get the impression that any of these three plays could be staged with nothing but a stool on a stage with maybe a small blank screen to project a few pictures for context. This method allowed Billon to have much more three-dimensional characters than I typically find while reading plays and, oddly enough, the author creates some of the most unlikeable people I’ve ever come across in CanLit.
Iceland was my favorite of the three. Billon uses this monologue structure to bring together three unrelated characters into a very sad and brutal story. These three characters are also the highlight of this collection. Kassandra, the Estonian prostitute, is a very heartrending and sympathetic character – pulled into the world of sex work to help her family in Europe; Halim, the real estate agent, is an absolutely horrible excuse of human and deserves the fate that ultimately befalls him; and Anna, the young lady who is the glue of the play, is a fascinating and tragically ludicrous character. Iceland takes on a lot in only 40 pages, but most interestingly is how it deals with dreams of freedom and the nature of capitalism and capitalists.
Throughout the whole collection, there is a desire to be part of something larger than what exists now. Jonathan in Greenland yearns to be a leader in field of climate change; Kassandra in Iceland wants to live up to her mother’s expectations and take advantage of the promise offered by the revolution at home; and Dara in Faroe Islands literally wants to save the whales. This theme is the glue that holds these plays together. Additionally, as a student of English Literature and a graduate student in Island Studies, I see a lot going in all of these plays that uses the tropes of small island life and literature. Greenland uses notions of isolation and environmental vulnerability as an important part of the story. In Iceland, while no action whatsoever takes place in that country, the island is used as a microcosm of the wider world. And in Faroe Islands the idea of insularity and traditional customs being misunderstood by the outsider is central. I can easily see Fault Lines being added to small island literature courses (I would add it).
This is essential reading accessible to everyone. Even if you don’t want to delve deeply into the highly complex themes, the characters and plot are engrossing to even the most casual reader. Also, since the three plays are done with monologues, it is much more accessible than a lot of drama in that there isn’t that initial shock of confusion with who’s who in the opening scenes. Fault Lines is without question the best book I’ve read from 2013.