Lisa Robertson Explores Aging and Identity in New Novel Riverwork

Lucy cleans offices and apartments, reflecting on her aging body as she seeks her great-aunt Em, who disappeared into the folds of Paris while pursuing the now-nonexistent Bièvre river decades earlier. This search intertwines personal and historical narratives, leading to a series of discoveries and obscurities.

In a recent interview conducted over Zoom, Robertson discussed her background and the evolution of her work. She started publishing in her thirties, having created a substantial body of poetry, including 10 collections, inspired by the vibrant literary community in Vancouver. Robertson considers her identity as primarily that of a poet, asserting that all her writing—novels and essays—stems from this foundation.

*Riverwork* emerged from a longstanding fascination with the Bièvre river, which she encountered in her studies of Rousseau. This river's absence prompted her exploration of its history and connection to Parisian life, particularly its textile industry. A casual lunch conversation with an artist friend led to the realization that one can begin a novel from a physical site rather than a concrete idea.

Robertson is particularly interested in exploring narratives from older perspectives—departing from traditional representations of youth—embracing themes of loss, disappearance, and the complex relationships women have with their bodies.

She expressed a desire to reframe the narrative around older women, claiming their stories are often neglected or trivialized. By focusing on the character of Great-aunt Em, whose story parallels the ghostly Bièvre, she aims to capture a broader, more nuanced understanding of female identity and lineage.

Robertson's exploration of the gendered nature of public and private spaces also plays a significant role in *Riverwork*. She acknowledges the physical confines of age and disability through characters like the Archivist, with whom Lucy engages in deep conversations across various domestic spaces.

The novel’s structure, revolving around the spaces Lucy inhabits, draws inspiration from literary traditions while subverting them, creating a tension between the intimate and the urban. This reflects a broader commentary on the freedom and limitations experienced by women in public spaces, particularly in a historical city like Paris.

Robertson’s work aims to challenge established narratives, incorporating humor and bodily experiences into her writing. She seeks to elevate the aging body from an object of pity to one that embodies complexity and vitality, showcasing the myriad ways in which our physical form interacts with identity and environment.

Her previous publications include *Boat* (2022) and her debut novel, *The Baudelaire Fractal* (2020), which received critical acclaim and was short-listed for the Governor General’s Award for Fiction.

Lisa Robertson resides in France and has taught at numerous prestigious institutions worldwide, further enriching her literary contributions and engagement with modernist women writers.