Rootless
Rootless is the fictional memoir of an Ottawa girl, Helen, who grows up in an abusive home environment and ‘comes of age’ at university. She then travels across Canada in an attempt to escape mistakes of her own making, to discover herself, and to “start over”. She is pretty, very intelligent, very opinionated, and yet profoundly needy. Despite her quick mind, and her “book learning”, it takes her a while longer to realize she has yet more to learn. It is a fast-paced novel, it takes a while for the reader to sympathize with her as she doesn’t always do what the reader expects. But she grows as she conquers her own mistakes and overcomes the hand she was dealt, finally grasping what she has missed all along.. The work tangentially introduces Boaz, some ten years after the events in The Catholic Club.
Here we give a little background on the cover of Rootless and provide a few photographs of Helen’s journey across Canada and of her imagination as a Queen of Bactrian Greeks in Alexandria on the Oxus. The cover of Rootless is a painting by Hara Papatheodorou. She was taken by the story and offered the use of her painting. Below are Nigel’s comments upon her self-portrait and a few of her paintings.
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Here are a few photographs of the places Helen visits in her journey across Canada and of the place she imagines as a Queen of the Bactrian Greeks in Alexandria on the Oxus
Map
A map of places visited and mentioned in Helen’s travels.
Gate House, Victoria College, U. of T.
A picture of Gate House, with the bell tower above, which is the opening scene of the book.
Alexandria on the Oxus
The geography in the vicinity of Alexandria on the Oxus – Ai Khanoum – The city that Helen dreams about.
Votive Offering Plate
A votive offering plate found Ai Khanoum to the sun god Cybele. Cybele – MET Museum.
Antefix Tile
An example of the hundreds of antefix tiles that would have been mounted on the roofs of the buildings at Ai Khanoum.
Etruscan Terracotta Roof Decorations
An example of how antefix tiles are used from Etruscan times. Photo by Jean-Pierre Dalbéra
Ai Khanoum
False Creek, Vancouver
False Creek, in Vancouver, circa 1980 on the left and more recently, circa 2020, on the right, showing the new construction Helen mentions and which, unfortunately, excludes the public berthage for fishing boats that has diminished over the years.
The Halifax cemetery
One of the graves of the Titanic’s victims. Helen wanders here while in Halifax.
Necropolis
The Necropolis’ beautiful lychgate and chapel and crematorium, Toronto; site of the burial of Helen’s friend and of her reflections.
The cover of Rootless is a painting by Hara Papatheodorou. She was much taken by the story of Helen and offered the use of her paintingas a cover for the book. The painting captures Helen’s angst, her awareness of mistakes made – but it also has an undercurrent of perseverance. Helen never gives up. Hara’s paintings are very expressive. Below are Nigel’s comments upon Hara’s self-portrait and a few of her paintings:
“In 2015 I was first introduced to Prof. Hara Papatheodoru. She was giving a lecture on Angels, which was presented with the support of the Canadian Institute in Athens. Her talk was on how angels have been presented in art over the centuries, from Babylonian times through to the Renaissance, and was based upon her original PhD thesis on the Iconography of Angels. What was so particularly impressive about her lecture was that she has the artist’s eye to catch the very essence of an angel, its meaning, and its purpose. In her hands, the angels were alive.
At the time, I had not realized that Hara is an accomplished artist. Below is the first of three of her many works that I would like to comment on.
It is a self-portrait of a determined, and beautiful, young lady. Her adventurous nature had brought her to Halifax from Greece as a teenager. A few years as a waitress and she was being trained by no less than Arthur Lismer in Montreal. I think this early self-portrait captures the depth of her vision and capabilities. Her concentrating eyes are looking a little above and beyond you, off to a higher level, beyond you, to something more interesting. She wants more than what you offer. Her sharp, defined features confirm that she has a purpose – and that she will achieve it.
The hair colour is beguiling. It completes the picture. It is both very dark and, fascinatingly, becomes very light on the left side. The background behind this boyish, almost playful haircut reverses each side of her head. I think this adds depth and complexity. I find her lips invitingly crisp, subtly hued – and undoubtedly soft. Even a short kiss from them would be lovely! The long, swan-like neck leads to the most gently curved shoulders. Those peaceful shoulders are alluring; especially with the plain, subdued smock. This woman does not need fancy clothes.
You are looking at a calm, discerning, very talented young lady.”
These two paintings, below, are described on the following pages if you click on them. They are included here as they reflect the aim of Nigel to capture in his writing both individuals as he sees them here and to present the universality of a boy with a violin and a mother. Every life can be studied; every life has promise, rewards and its own tribulations. Rootless is one such exploration.
“Basil”, by Prof. Hara Papatheodorou
This is a “nonfinito” painting that is perfectly finished! This is a painting about the violin AND the boy – not “boy with violin”. Not a stroke more is required. He is gifted. Perhaps the boy Basil is not even aware of how good he is. He sits quietly and stares out of the painting into the unknown future, carefully holding the instrument. He is conscious of how he sits, how he performs, how he practices and how he listens to instructions. He cares; he wants the best and to do his best. He is not pretentious, nor a show-off. Intuitively he knows what duty is and what the expectations are. He holds the instrument carefully, like the tool it is, with the hands of professional workman holding the tools of his trade after a lifetime of working. His violin is an expression of himself. He is slim, focused, conscientious, and diligent. He consciously tries to improve and learn. An ideal student, a loving boy, Basil has an undercurrent of passion which, playing, he reveals. The irony of the contrast between the stillness and quietness of the painting, and the vibrant and profound music he creates, is an eternal moment, captured forever.
“A Tribute to my Mother”, a drawing by Prof. Papatheodorou.
This is a line drawing of Hara’s mum after her mastectomy with its resulting lymphedema. The quick strokes brilliantly capture her resignation, her stamina, and a lifetime of her memories. There is a kindness, an understanding, wrapped in firmness in her poise. The eyes are vivid and challenge you; the lines of her cheeks and neck are aged, but do not sag. Her hair is perfect – as she would want it. Her head is slightly turned and angled; she is looking down, her head bowed slightly with the weight of what she must bear.
The breast that joyed her husband; that suckled three children; that made her a woman is gone now, replaced with pain and swelling. Suffering comes with happiness; she knows this, and she has a lifetime of memories that only she knows; a trove of secrets to maintain her; a record of her achievements and small triumphs that mean much to her, and only her. She is proud, accepting, brave and confident facing the future.
What a tribute, Hara!