First off, I’d like to note that Wifey was chosen as a group read for a romance-reading group. This is seriously funny-sad, in retrospect, because I think this novel is the anti-romance. Which is not to say it doesn’t have some commonalities with the romance novel: female protagonist, concerned primarily with sex and relationships, trappings of consumerism and status. This book also shares a commonality of usage with romance in that many, many people about my age stole this from their mothers at an impressionable age so’iz they could read the sex bits over and over. Having read this as an adult, I find this somewhat hysterical, because it is possibly the least romantic book to be classed as such. If a romance novel is primarily an act of wish-fulfillment, where love conquers all and sex is cauterized through marriage, then this succeeds in only one of these things. And I can tell you it’s not the love bit. I have a pretty severe allergy to this time period in American fiction, and I realize a bit of this is learned and a bit of it is just general cultural anxiety. Writing from the sexual revolution can’t work for me, generationally, because things that are couched as stunning revelations – women feel desire – read like cliché. Of course we do! Durr. Then there’s a boomer friend of mine likes to lean in and make jokes about that time period, in this upsetting way, because he’s the father of a friend of mine, and shouldn’t be talking about sex to me: the sexual revolution was all about getting into the pants of those not inclined. Hey baby, why do you have to be so square? I take his point: sometimes people equate free love with the sexual revolution, when I think that’s super reductive, but that equation is one that has a long history, and I think this book cuts a slash though that equals sign. The parts of the sexual revolution that I love have to do with the interrogation of gender roles and social expectations, and I think this book hinges on the equation of sex with liberation, and shows how hollow that idea can be when there isn’t a corresponding change in assumptions. There’s all kinds of social panic in this book: gay panic – apparently having a woman touch a man’s nipples makes him gay; racial panic – there are several enlightening conversations about what constitutes a “good” minority, red-lining, white flight, etc; gender panic – having sex with a woman on top makes her a “women’s libber” (god, I haven’t heard that term in a dog’s age). Sandy’s miserable in her roles a housewife and mother, and sleeping around may put those roles into crisis, but it doesn’t make those roles go away. I recently read The Crying of Lot 49 There’s a moment in Lot 49 when Oedipa confronts what to any good social conservative is the inevitable horror of societal sexual permissiveness when she watches a mother and son tongue-kiss their farewells in a bus station – they’ve been using the evil, subterranean postal system to telegraph their transgressive love – and Oedipa falls into a dream-swoon, unsure if this real or imaginary. If it is acceptable to cross one line, then why not another? But Oedipa is mostly a satirical creature and Pynchon’s poking fun at her perceptions – I think it’s no accident that she ends up floating around Berkley or wherever it is running into gays and hobos and Vietnam veterans after she has her extramarital affair, because it’s almost like Pynchon is rubbing her nose in how she takes one part of the social movements going on by giving herself a pass to have an affair, and discarding the rest. The sexual revolution had as much to do with Stonewall or custodial rights or whatever as it has to do with giving already privileged people the permission to do what they want, which they would do anyway. When she finally returns to her husband, he’s lost in drug-perceptions, and the pinwheeling satire of 49 draws to its unfinished conclusion. But Oedipa is a satirical creature and Sandy is not; Sandy has an inner life much more fully realized than Oedipa. Pynchon comes to judgment on Oedipa, and Blume does not. While there are elements of social satire in Wifey, it’s not satire, a frustrating muddle of realism and satire, of burlesque and social commentary. It’s aggressively straightforward, almost to a strange degree. I’ve read me lots of genres, and there’s usually a moment, even in the most prosaic of fictions, when the writer tries some writerly zig-zag, just to make sure you’re paying attention. I don’t feel like that ever happened here, and it makes me think about the female diarist in Possession Blume writes a portrait, a character, and refuses to tell you how to read it, which is absolutely the strangest thing ever. I held off reading the intro until after I read the book, and that fucked me up in all kinds of ways. Blume wrote this after she left her husband in the 70s, and Sandy makes all the choices that Blume did not: to stay by her husband, to hide in her Jewish, suburban enclave, and fuck, I don’t know what. I hate reading books through autobiography. (I have almost zero interest in the lives of writers, maybe because I’ve been tainted by the New Criticism of my mother, who is my internalized reader, my readerly super-ego.) The subversion in the writing is the lack of gloss, in the lack of artistry. Here it is, she says, think what you will. Blume might have written Sandy as an elegy to the choices she never made, because there was a moment there, somewhere, where she could have become Sandy, and she understands and empathizes. Maybe not. There are good arguments against the polemic novel, one that tells you what to think and why, but this is anti-polemic, letting you twist wondering why choices were made and conclusions come to. Here come the spoilers. When Sandy and her husband come to their agreement, and choose to remain in this horrid, soul-killing marriage, I died. In a year, Sandy will kill herself too, inevitably, awfully. My husband and I screamed out this conclusion: why does it have to end like this? A shared bed is a horrible capitulation – this is not a happy choice. This may be me bringing too much literary reading to my reading, but I was horrified by Sandy’s offer to shave her puss so that her husband could endure it. I think of all the literary hair: Ruskin freaking at his wife’s pubes, Humbert Humbert and his smooth girl, the hard, alabaster Edward, J. Alfred Prufrock noting the hair on the arms of the women coming and going, and on and on. I shall wear the bottoms of my trousers rolled, because I do not have a woman to hem them. Maybe I’ve just articulated one of those insane personal pet theories, but hair and its metaphorical stand-in for real sexuality, for libido, for the deeply anti-social nature of love seems to be a running thread not just in fiction but in life. Sandy will hem her husband’s trousers, and hem her cunt, and I hate that it comes to that. I hate that I just said “cunt”, like her husband did to Sandy when he found out about the affair. I hate all things that seem like choices but are not, or are choices but the wrong ones. Another component of the romance novel is one of the exceptionalism of its principles: a love that knows no bounds, love that turns transgression into acceptance, the kind of love that turns someone as soulless & inconsequential as Bella Swan into the heroine of a grand plot. It is the inner life turned out, made manifest in the men who can see the exceptional nature of the protagonist. Sandy is not exceptional: not smart, not talented, not healthy or spunky or robust. But she is character with the only reality, and her rich fantasy life is almost a commentary on the dangers of mistaking wish-fulfillment narratives of love & romance with hard realities. If this were a romance, her affair with Shep would have concluded with their happy marriage and some more babies. But Shep is just some schmuck, like her husband, and wishing for happiness, hoping that love will magic away her obstacles for happiness continues to put the agents to her happiness in other people. As crushed as I was by her conclusion, for her to stay by her horrible shit of a husband after he smacks her and calls her a cunt, I can’t imagine her making the choice to run away and find a less inconsequential life. This story interrogates the idea that romantic love can change your life, and lays it bare. Sandy should, by all rights, chuck this dreary shit and strike out on her own, but she’s been bound by a narrative of domestic harmony and consumerist comfort that makes such a choice impossible. In short, she’s swallowed the barb that’s in a lot of women’s fiction: that you cannot do this on your own. Love will set you free, but if there is no love to be had, then you remain in your cage, and she does. I hate her choice. I think it will kill her in the end, but I appreciate Blume’s lack of judgment & her compassionate portrait of Sandy. Sandy is the road most traveled. May we all look on her and despair. |
Month: October 2012
which was written roughly ten years before this, at the other end of the country and at the very beginning of the sexual revolution that is about to crash into the Jewish New Jersey suburbs in Wifey. I think that Oedipa from Lot 49 and Sandy from Wifey have strains of the same DNA in their blood. I’m feeling a little stupid comparing Pynchon to Blume here, but seriously. Oedipa is a useless housewife, as is Sandy; despite their transgressions, both are incredibly socially conservative; they both go on their little journeys of sex and discovery, and both novels fall completely apart, in the end, although one is much more personal a failure than the other. There’s other commonalities too – I think that the Nazi shrink in Lot 49 has something in common in creepiness with the gynecologist brother-in-law in Wifey, both of them trying to enact their institutional fuckery on the principles of these books. (I’m not using the term Nazi metaphorically here, although Pynchon might be. Dr. Hilarious was a bona fide Nazi doctor.) The difference may be that Pynchon treats his Oedipa with disdain & misunderstanding, in a gendered, satire kind of way – I’m pretty sure the only thing that makes Oedipa a woman is that her heels clack – Blume treats her protagonist with the pointed cruelty of understanding. Sandy does not just have clacking heels, she has an itchy vagina which she scratches to bleeding. Sorry, this is gross, but it’s the vagina-that-shall-not-be-named, the spooky specter of female libido.
who never writes what she means, and that not writing it is an act of subversion. I’m groping, again, as I have been in all of this review, because I feel like a definitive reading of this book is severely impossible. But as I’ve found in reading this women’s fiction in the group, I take Sandy a lot more personally than I do Oedipa, which is sometimes a mistake. If I’d written this review the minute I finished reading, it would have been one-star outrage – I would have read myself, as a wife & mother, into Sandy, and I would have taken personally the outrages committed and perpetrated by Sandy. I never had that reaction to Oedipa, because she’s not really a woman, and I’m less sensitive to what I perceive as sexist twaddle coming from men, rightly or wrongly.We Shall Not Be Going to the Lighthouse Today
| I saw five lighthouses today, and at each one, I told my children that “We shall not be going to the lighthouse today”, and every single time, they almost started crying. I’ve been laughing about this, in an extremely immature fashion, but I’m also sad about how I can’t seem to stop joking about this thing that hurts them, even if it’s transitory and easily remedied by the fact of real lighthouses blow over by a clear, cold wind. Ah.
—– We’re walking back on the lakewall and I meet Mum with her dogs. The boy is running ahead, his head full of the lake and its tidepools and wind. The girl and my husband are lagging, her short legs in almost comic contrast with his long swinging stride. Mum and I talk about the wind, which is palpable and cold. It pushes, insistent, but with an insistence that is less gentle than the similarly palpable sun. We talk of our separate walks: she to the point, we to the lighthouse. The girl is mad for the lighthouse. She has demanded that we return this morning, despite our carefully worded choice to her: the lighthouse or the island. She chose the island, but returning by the lakewall she saw it again. We give in, and go, but I say it again, the horrible joke, the unfunny untruth, “We shall not be going to the lighthouse today.” She doesn’t hear me; she is far ahead, running, and I shout her back to hold my hand. The narrowness of the wall, her short legs, the insistent wind. I imagine the cold of the water, how horrible it would be to jump down and fish her out. No need to think of this. Her hand is small and warms my palm. I don’t know how I work this into conversation with Mum on the lakewall on the way back. There’s a conversation before this about the dogs, their age. “To the Lighthouse We went. How could we not? It was Carrawburgh, Temple of Mithras. There was a small gravel car park, and a fence with a cattle grate, and cattle on the other side. In the car park was a German couple in a small car, having a fight. It ended with him stalking off to the ruins and her steaming in the car. We walked around the ruins, although the word “ruins” implies it was something other than a stone square on the ground with the roughest rock hint of an altar. Roman soldiers sacrificed bulls here, bathed in their blood, fortified themselves against the blue-streaked bodies of the Picts just over the wall. Now it was a stone page left carelessly in the grass. We read what we can. On South Uist, the nearest of the outer Hebrides, it was just past mid-summer, and the sun was nearly constant, as close as we were to the arctic circle. The wind was not insistent, but demanding. The wind was cold and salty, and the land rose and fell with the tides. The sea continues to surprise me when I’m near it, raised as I was with a lake, The Lake, the Lake Superior, which crashes and gurgles like a sea, which kills and rages, but doesn’t breathe or slop. The sea never stills to glass. Archaeologists were excavating the home of Flora MacDonald, who housed Bonny Prince Charlie on his failed, bloody foray into Scotland. I wore everything I owned and the wind still poked its cold fingers through the weave of my clothes. The Ramsay’s house is somewhere just around the corner now, a ghost house, broken slowly by the wind, by the sea air. It lays like a page on the ground, but uncleared by archaeologists, so that the stone sleeps beneath earth and the harsh moss & winking heather. Keep the doors closed and the windows open. The night before we’d sat around in the small trailer and talked about The Lighthouse. That afternoon I put down the cross stitch I only seem to work on in the car and read the first section. I tell Mum that I didn’t really get it as a freshman, when I read this first. Back at 19, I re-read the first six pages several times, because I simply couldn’t believe that I’d decided James was the protagonist, and then it turns out there is no protagonist, or all are protagonists. The society is the protagonist, the family, maybe. But not the term “society” that implies detachment, sociology, an idea of order as seen from above. But this time, the stream of consciousness felt easy, unforced, intuitive. I had invited Mum to join the group read when it started, but she talks now about how she couldn’t revisit this sadness, how she wept at this book when she read it in grad school. My husband asks why it’s so sad and I can see my mother’s eyes become reflective when she talks of the loss of Mrs. Ramsey. That she could die! That she could live and then die! I’m thinking of Grandma Fran suddenly, my mother’s mother, who died, and her loss is a great lake of still, saltless water somewhere under my lungs that makes it hard to speak. Maybe Mum is thinking of her too, but she has her own lake, and it goes unmentioned. We talk about Joyce, and Ulysses Mum leans forward. “But what about the dinner table fight about Parnell in A Portrait of the Artist as a Young Man Earlier the woman at the coffee shop told me there was a nesting killdeer, which is a shore-bird with the long, funny legs and rock-like plumage, living right near the start of the lakewall that leads to the lighthouse. To protect their nests they fake a broken wing, dragging it lamely on the ground, to lure the predator away. I’ve forgotten to look for her on our way out, our way in. Her eggs are there, somewhere, living rocks in with the more placid ones. Why do I want to find her and provoke her automatic response? Maybe because she shields her babies with a brokenness I understand, until the predator moves far enough away and she flies. She flies. |
takes place on the Hebrides, you know. I’m assuming Skye; the outer ones are too remote.” She and I have been to Skye, and the Uists ten years ago, no almost fifteen, the two of us in a car going from London where I’d spent a semester. Fifty miles from Hadrian’s wall, I, the map reader because I couldn’t drive on the wrong side, I saw a little triangle on the map that read “Carrawburgh, Temple of Mithras,” and began repeating this phrase at every opportunity, in the boomingest voice my lungs could muster.
, how Modernism often relies too heavily on the Classical mythology in ways that make it opaque to me. I express how surprised I was that the Stephen Dedalus of 
?” Oh, but I get that entirely! The emotional reality of the argument wasn’t about politics at all, and I saw myself blinking through Stephen’s eyes at the domestic rage that is the sister of the political. Here is where we can talk about Grandma, about her Mum, who is the same woman, but in parallax. We talk about Grandma Fran and her sister, devout Old World Catholics both in their different ways, and how Grandma loved to take big swings at the Pope at the dinner table that were designed to connect with Aunt Helen’s devotion. The men would leave the table as quick as they could. One cannot catalog the history of a family like the dates and battles of history; it will not run linearly. The way Woolf breaks our consciousness into separate, connected, ruptured understandings that flow from one eye to the other – this is the web of my mind.The Ravishing of Being Really French
Well, this review turned out to be a whole helluva lot harder to write than I thought when I was snorting my way through Ravishing of Lol Stein
I’ve got a thing for the housewife in literature, I admit. I notice her and watch her, the way she is constructed and commented on. She’s not a component of any romance I can think of, almost the anti-romance in her bones: the foregone conclusion, the morality tale, the warning. (Though maybe remarriage comedies come close – but no, that’s not quite right.) She is inert and motionless, not part of the decisive world of love, but its frusty, decaying aftermath. No romance starts with a housewife, though it may end with one in the oblique. (And, quick aside – this is interesting too. I don’t know the truth of this, but the housewife is the imagined reader of romance novel, who we allude to when we talk about who consumes wish-fulfillment exercises about the domestic. I’ve said this elsewhere, but I think some of the attacks on Twimoms are ad hominem – Twilight is bad, because the readership is bad. You ladies should grow up.)
It’s true that I find her fascinating because if you squint right, I am a housewife. No, yes, of course, I work, and don’t feel defined exclusively by my husband or my family, but the work of child-rearing and house-keeping is still a major component of my personality at this point in my life. I regularly self-define myself as a housewife though, often disingenuously, just because I know it pisses my friends and husband off. No, you’re not a housewife, they eyeroll, you’re smarter than that. Which is the thing to me, ultimately. An almost inextricable part of the definition of housewife is her passivity and lack of intellectual life; hers is an emotional life, protecting the hearth fires so that men, and later (boy) children, can venture out into the important and active world and do important and active things. She looks within so others can act without. She is the font of compassion like Mrs. Ramsay from To The Lighthouse, telling James his bedtime stories so that Mr. Ramsay can contemplate the movement from P to Q. And ultimately, she has no self. She is a role cut out from society and watched like a kettle. Maybe watching will keep it from boiling.
Which is the thing with this novel. This book takes on all of the voyeurism inherent in the housewife narrative – the neighbors watching, the husband watching, the male gazing – and makes it manifest, everyone peeping out from their houses, into windows, imagining observers and observing observers and mirror mirror mirror memory observation mirror mirror. As an intellectual or literary exercise, this book is some bang up stuff. The narrator reads like a man gossiping about himself, and the unsettling shifts to quoted narratives, between the first and third person, between the felt self and observed self were artfully done. The distance this creates, though intentional, is yawning and chilly. There is so much art, there is very little life.
Interesting, I think to myself, how often the narrative of the housewife hinges on voyeurism. Sandy, in Wifey, watching a masturbating motorcyclist watching her window in the first scenes; Carol, from Main Street, the most squirmingly accurate portrayal of a housewife to me, fighting the blind-holding gossips; and the most tactile voyeur of them all, Humbert Humbert, watching like a pov slasher killer Delores Haze and her immortal daughter, Lolita, from inside the house, like the murderer he was. I felt the fingerprints of Lolita all over this story, down to Lola’s own name. But there’s other things as well: the road trip, the beach where Lol’s insanity is born mirroring Humbert’s beach side dalliances that he (partially, lyingly) blames for his derangement, the endless descriptions of Lol’s slenderness, the repeated phrase that she is a “grown-up schoolgirl”. Lol is a collapsed character, melding both Delores Haze and her daughter Lolita, with annihilating results. There is no center to hold here, no self beyond the observed one, no housewife but the one seen from without. And, speaking from the inside, maybe that’s the only place where one can see her, can see me. I, we housewives exist in observation. Without it, we are only ourselves, and that is nothing at all.
Hot damn, I have been infected by all this glacial unknowing. Because hear this: I laughed through this book. There’s a lot here that feels stupid and dated, calculated, deliberately unreal. The narrator regularly refers to himself in the third person: Jack Hold did this; Jack Hold did that. I had this annoying friend who would refer to himself as Hershel Walker, who I think was a football player for the Vikings, because Hershel Walker did that all the time. Hershel Walker threw the game. Hershel Walker gives 110%. Hershel Walker does not use the first person because Hershel Walker is too important for that. So when Jack does it, I laugh. Lol Stein’s name unfortunately reads to me as LOL Stein, which is an accident of history, I know. Lol! Then there is the dialogue, which is art film wankery up the ass all day. There is no person on earth who talks like this, let alone a gaggle of them speaking past each other. I wanted to shake them all, shake them until their necks snapped, pour blood on the dining room table, scream. Bunch of fucking phonies.
I also thought of the Gothic novel, that panic of the domestic, the castle rotting from within by secrets kept and marshaled by women even if they are perpetrated by men. These books of the housewife write the details of their enclosures as closely as they do the housewives themselves; the housewife as landscape; the housewife as nature documentary. There’s an epic catalog of her houses in literature: Mrs. Ramsay’s closed doors and open windows, Mrs. Haze’s petty bourgeois taste, Carol’s failed parties in a Chinese theme, Mrs. Dalloway’s narrow bed and her famous flowers, Sandy’s chart documenting the shits of her dog. (I’m leaving off Oedipa Maas, because I’m not sure she’s a woman.) Maybe we will learn something from her furniture, from her gardens, but then it turns out the gardens and draperies are for show, just like everything else. They are cultivated for observation. Look, look, look. Fuck, I don’t know. This book has defeated me with its distance, all this talk of love by people who are liars. Liars! Almost nothing said by anyone about any feeling at all made sense to me. Aliens.
So, yeah, I’m glad I read it, but I’m equally happy to be done with it. Oh, and far as sex writing goes, this is a cold affair, the erotic of the oblique, and very little of it stirred me. There were a few scenes with Lol sleeping in a rye field below the hotel window where her friends were enacting their dubious love affair that were beautiful, but every time someone kissed someone else, I recoiled. Gross. Maybe you either watch or touch, maybe you look but don’t touch, that old saw about women not being visually oriented in their desires. Maybe not.
An Elegy for New York: Zone One
Maybe it was just a matter of the timing of my read because the tenth anniversary was last week, but I feel like this book was a 9/11 novel. I don’t mean to be reductive – there’s certainly other stuff here – but there’s this thinly morose elegy for New York going on, cut with something less combative than sarcasm and more emotional than irony. I spent the fortnight leading up to 9/11/11 – a stutter of a date – narrowly avoiding public commentary, while committing a series of glancing asides with friends. Where were you? 9/11 in public has been rendered cinematic, that famous long-shot of the towers burning is maybe too restrained for Michael Bay, but it certainly lacks the ashy situated experience of the day, all phone calls and slowly dawning horror. One thing that kept popping up in my conversations of rememory was the almost whispered question – do you remember the people jumping, falling from the towers? Do you remember the reports of the smack of their bodies hitting the ground? Do you remember the footage? It’s gotta be out there somewhere, not that I want to see it again, but it’s been collectively wiped from our retinas, an eye rub that seeks to dislodge the sleep-ash of the nightmare. But it’s been ten years. We’ve stuttered into our new normal, the uneasy and easy everyday of a world walking on.
Mark Spitz – and this name is never familiarized to Mark, nor do we ever learn his given name – begins the book cleaning out “stragglers” from the titular Zone One, which is a section of Manhattan barricaded from the rest of the island by the reforming government of the US and cleared of the more active skels. (This set-up is not dissimilar to the set-up for 28 Weeks Later, though the colonial and family psychodrama aspects are much more understated.) The zombies are Romerian (Romeroian? Both of these are ugly adjectives; I apologize) – shambling, biting, unintelligent and relentless – but for a small percentage of stragglers – the undead frozen in tableau, unmoving, unblinking. Mark Spitz and his sweeper team work through the grids of this zone building by building, opening the closets, shooting the active skels and casually trying to divine the mysteries of the stragglers. Why here, bent over a copy machine? Why in a field flying a downed kite? Are these the actions that defined their lives, or just a burp of a recording set to pause at a random frame?
The social rules of survivors recounting the trauma of Last Night are meticulously cataloged by Mark Spitz. There’s the Silhouette, for those to whom no connection was felt; the Anecdote, suitable for large groups and the more long-term of the short-term traveling companions; then there is the Obituary, told only to the intimate, though not without rehearsal. This declension of the narratives of trauma reminded of my fortnight of 9/11 recountings this year. I was getting ready for work when I got a call from my sister in Midtown after the first plane but before the second, and then a gush of extraneous details; a friend tells of the ash beginning to fall on Brooklyn; another relating only the tersest of details. I don’t know if I’m allowed to quote from the bound galley I have, so please know that this may not be in the final draft, but, “At their core, Last Night stories were all the same: They came, we died, I started running.” The towers were hit, and then they fell, and where we were at the time is both intimate and immaterial.
Then there is the New Yorkiness of this book, a resident recounting his mixed irritation and affection for the cityest of American cities, carefully prodding nostalgia that at any moment might stir and bite. And when it does, put it down with a bullet. There’s a lot of that insular provincialism found in any person writing about their hometown – a running gag where Mark Spitz refers to Connecticut, where he spent a bad part of the interregnum, always with a damning adjective: damned Connecticut, hated Connecticut, abhorrent Connecticut; or a one-line dismissal of the Midwest which had me both laughing and bridling. Critically elegiac, the love/hate of the before that did not prepare for the after. Sometimes this doesn’t work, and I found myself boring through a description of the family eatery, its essayish tone slipping to droning, too many meanings, too much memory. But I see your point.
There’s the stink of the inevitable all over this story, and if you’re paying attention at all, you will know how this three days in Zone One is going to end. This is not a spoiler, but a statistic: 100% of people have died, except for the living, who will likely succumb to statistics just like the rest of history eventually. Despite the zombies, this is not a genre exercise, not really. There are no hat-tips to conventions of the zombie narrative, no attempt to science up the zombies or ruminate on causes. Ten years later, it’s just a done deal, something to recount while picking through the mess, the carrion body of historical fact. Even then, zombies carry with them certain inexorable truths in their rotten bones into this literary landscape. Reflection is a sad, useless business, self-serving in the abstract and distracting in the specific. But reflection is also compulsive and necessary in our human states: silhouette, anecdote or obituary. What does it matter where I was? It simply matters that I was. We pick up and shamble on.
(An ARC of this book was provided to me free of charge by the publisher, but no conditions were put on my review. Fyi.)
Posts from Overshare Planet: The Piper’s Son
Oh my god. This writer.
The Piper’s Son
Once, I walked out of a house during a fight, a bad fight, the kind of fight where even my memory of it is bruised and puffy. He was a friend, and then a lover, a night-and-a-half stand, and I had battered myself bleeding on how indecisive the stand was. I was yelling, and crying, a maelstrom of wild embarrassment. (Oh God, I hate still how bad I felt, and how most of it was my fault.) And then I closed my mouth, and looked at him – I can admit now that he was stricken too, in his own way, helplessly watching his friend go insane – and then I got up, and walked out. He stood on the lawn and watched me drive away.
It would be overly dramatic to say I never saw him again, but that was more or less the truth of it for years. Years and years. I was a cracked and leaking mess for months, my life caught in a wobble. I’d returned untriumphantly to my hometown after an abortive attempt at college, half-assedly taking classes at the U, living with Mum and my high-school aged sister. He had been my best friend upon my slinking return, staying up too late doing the stupid projects he dreamed up, useless and hilarious projects predicated on a scaffold of inside jokes and too much time and not enough ambition. He liked to drive at night in his parents’ looming station wagon with bench seats. He had an insomniac’s knowledge of the city’s geography, and I’d act as passenger, my legs up on the dash. There are Indian burial mounds in a sleepy neighborhood in St Paul overlooking the highway and then the river, and they are magic in the dark hours.
So yeah, Tom. I know you, you asshole. I know how I broke my own heart on you. I know other Toms too, the boys vomiting up blood and beer, vomiting up the pain of their fathers who hit them or their mothers, or walked out, and didn’t walk out but wound down so tight that nothing came out again, nothing. Boys who would go out drinking and work shitty jobs and tumble. Boys who played the guitar like dervishes, their fumbling lyrics badly rhyming their attempts at speech. Toms that could cleave you in two with five words, or none at all.
This one boy, another of my Toms, an arrogant, beautiful dude, explaining the power of Shakespeare’s Sonnet 29, drunk, to a group of my friends, and it was a moment of awe. They hated him, rightly, because he was a powerful asshole. He was mean to them because he thought it was funny, and much of the time it was. Sometimes it was just mean. The then, holy God, here was this moment, his unalterable self on display in another man’s words.
When, in disgrace with fortune and men’s eyes,
I all alone beweep my outcast state
And trouble deaf heaven with my bootless cries
And look upon myself and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possess’d,
Desiring this man’s art and that man’s scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven’s gate;
For thy sweet love remember’d such wealth brings
That then I scorn to change my state with kings.
Where the hell did that come from? This was a guy who played the football pool, and was working from casual alcoholism to the more complete kind. It was not enough that he had this inside him, but it was a close call there for a while. He had a twin bed. Whenever I slept in it, I had the sensation that I was going to fall in my sleep, my hips perched on the edge. I never did. I had resolved not to, and this was one of the few times in my life where resolve actually worked. I was not going through that again, landing on the floor and bruising my metaphorical ass. His brother was an older version of him, same shit-stirring, same laugh, and he threatened me once gently, when we were in a kitchen alone from the rest of the group. What do you think about Tom? He asked. There was a moment. Other than the alcoholism, of course.
I laughed. Yeah, other than that. You know, he’s an asshole, but I like him. We have a good time.
Don’t you go breaking his heart, he said.
I was surprised, him? No offense, but I’m pretty sure I’m nowhere near his heart. He’s safe from me. His brother laughed. Tom was in the next room fighting his brother’s girlfriend for access to the CD player. I was too stupid and young to understand what his brother was saying. Maybe I was the Tom there. Maybe there’s no maybe about it. Good times, bad times, bad timing.
But this isn’t just about Tom; there’s also his aunt, his friends, his family, all these people struggling on after heartbreaks that have calcified, generations of losses that accumulate and have to be spaded through, disinterred. It’s bold choice to follow a 42-year old pregnant woman as protagonist in your YA novel, bold as grief, bold as receding youth. I feel like sometimes fictions of the post-high school years insulate themselves from other generations. Dad does a walk-on so our hero can resolve his issues. Mom wrings her hands and sends money. But you don’t graduate into a seemless world of your peers, you keep eating at the family table, fighting politics, sending emails. The real world out there, the one everyone has been warning you about, is the same world with crow’s feet and more silence. It’s the same bed you fell out of, and maybe you can sleep on the couch for the rest of your life, or maybe you can’t.
I’ve said this before, but I am in awe of Marchetta’s dialogue, some of the best I’ve ever read, ever. Character and voice in the same utterance, I’m in awe of her sprawling, almost gossipy plots that keep a slow burn going that makes your eyes burn and sting. Most of all I’m in awe of her compassion, the way she makes me think about my younger self. Mostly I’m ashamed of younger me – she’s an embarrassment and a natural-born idiot. Marchetta makes me cry for her, makes me love her in spite of her faults, because of her faults. It’s an uneasy love, and it wobbles, but when it winds down I’ll spin it again.
I Wish Someone Like Me Lived in This World: Leviathan Wakes
As a reading experience, I loved Leviathan Wakes. I was sick when I started, looking for the literary equivalent to a Law & Order marathon. Space opera is the police procedural of the science fiction world, and this one has an actual police procedural embedded within. It’s a galactic billiards game, the ordinary made extraordinary through the right place, right time, a bunch of forensics/technology, a lot of fragility of life just on this side of the hard vacuum of space. I mean, gee whiz.
There’s a Jim Anchower article, Jim being one of the “columnists” for the Onion, that describes Star Wars: Attack of the Clowns as “like watching C-SPAN on some other planet” – a bunch of boring imaginary politics playing out in the most expository way possible. Space opera can fall into this so, so easily. The ships embody the engines of society, and authors get caught up in the schematics, reading out the blueprints. Look at this nifty pinball game I made! That’s not what happens here. The characters here are more types than actual people, true, but the cultures they inhabit, they were well sketched. This is an alien-less environment (for the most part) – so the conflicts are between people, in social terms: the Belters, several generations out living in low-g on Saturnine moons or asteroids, stretched by weightlessness, grousing about tariffs and taxes imposed by the colonizing Earthers or Martians; the freedom-fighters/terrorists; the subtle pull of cultural gravities in different places.
As befits a dual-author novel, this pings back and forth between two pov characters: a space ship captain cut from the same cloth as Malcolm Reynolds, with more high-handedness and less Han Solo, and a noir-ish cop who getting to old for this shit. The individual sections tend to be beautifully arced, little vignettes which build from one of those “he didn’t know that his day could get any worse” and then ramping up furiously until you hit the next commercial break section totally leaned in, freaking out. Maybe it sounds like I’m making fun of this, and I am just a little, but affectionately so. There is something to be said for this kind of masterful genre writing, the guns laid onto the table in deliberate, methodical gestures, and fired one at a time, hitting their targets with a casualness that belies study, and lots of it. Bew bew! The book is masterfully plotted, and absolutely joyful to read.
But, two things stuck in my craw starting at about half-way point. Miller, our exhausted, alcoholic Belter cop who is in over his head, leaves the culture which props up his personality – types, as I said, more than people – and at this point his character falls apart for me. His motivations become laughable, his psychology almost literally unreal. You cannot take a type like Miller out of his world, because he is his world or the lens on it, the situated observer, the commentary though moving mouthpiece. And his relationship with Julie is squicky in a way I can’t put my finger on, but in a way that dovetails into my next complaint.
At about 3/4 through, two women have a conversation about going to the bar and playing a game together, and then have some teasing fun. This is (I’m pretty sure) the only conversation that keeps this entire 600ish page novel from failing the second two parameters of the Bechdel Test – and that just barely, because this was not a necessary or meaningful exchange. Now, yes, the Bechdel Test was developed for movies, and failing the test does not mean the book sucks. There’s all kinds of situations that fail the Bechdel Test because they are small, personal stories that take place with limited characters. But a tumbling active story taking place all over an entire freaking solar system? It is incredibly discouraging to me to find yet another fictional solar system in which women are only love interests or ball-busting superior officers, vague individuals in a universe peopled by men almost exclusively. Miller’s relationship with Julie, in this context, seems like that shitty thing where a girl becomes an emblem, a chit in a psychological game that moves a man, because a man is what moves. I don’t think I’m supposed to heart Miller and the way this plays out, but it doesn’t feel good to read.
I don’t want to come down on this too hard or act like this book is somehow anti-feminist or anti-woman. It just feels like in riffing on these traditionally boys-only genres – the police procedural, the space opera, the cop show – no one bothered to notice the boys-onlyness. And there are, to make up for this lack, a pretty subtle sense of politics and societal tendencies, and vomit zombies. Vomit zombies! I’m not going to explain, because explanations is spoilers, yo, but the vomit zombies were part of a general inventiveness and genre-specific yee-haw! that I really enjoy reading. This is a first in a series, I am given to understand, and although this one ties off in a way that doesn’t dot-dot-dot to the sequel, I would totally read the next one. Gee whiz!
Edit: I’m feeling a little defensive for bringing up the Bechdel test, for no good reason, because it’s not like anyone has called me on it or something. I went and looked at the books on my space opera shelf, and at least half of them fail this test, as far as I can recall. It’s a pretty common thing. The names thing is little easier to pass in books, because it isn’t hard to name a female character on the page, even if she is throwaway and tangential. The rest though – that happens much less frequently. I would just like us all to image a boy version of the Bechdel test, where we look for a book that fails that, a book where there are not two male characters who have names, they don’t talk to each other, and when they do, they only talk about women. Can you think of even one book or movie that fails this test? I don’t think so. And sure as shit, you can’t think of a hundred.
Geared for…What is Going On Here?
I think I’ve figured out my issue with steampunk. I’ve even said this before about the genre, but I wasn’t listening to myself too closely. Steampunk is defined mostly by gadgetry — goggles and steamships and corsets — and that gadgetry generally has this narrow aesthetic band. I’m nerd enough to have gone to my share of sf cons, and I get eye-rolling about how frustratingly similar all the steampunk costumes are — a corset (always with the freaking corset), a top hat (both genders), non-functional gearworks, maybe some anachronistic wings or those weird fox tails that all the teenagers wear with the weird muppet boots. (What up, teens? I don’t get your con boots.) But as much as I get irritated with the uniformity – seriously, why does “creativity” have to be so damned uniform – I get that the operative part of cosplay is play. Playing dress-up doesn’t have to make a big statement or blow my mind, and it exists as much for the performer as the audience.
That said, there are always flashes of the truly inventive in costumes I’ve seen: a woman in a gold Victorian-style dress that was designed to look like a Dalek; various steampunk takes on Stormtroopers; costumes using more working class Victorian sartorial iconography and mixed up with Marxist Freedom Fighter clothes. This last one especially, because so rarely do these steampunk characters hail from anywhere but the most rarefied upper classes, a fetishization of people who were on the whole a bunch of shitty, colonial asshats who enforced the crap out of social and sexual norms that are appalling to the modern person. Or freaking should be. Steampunk decouples the sartorial from the cultural, which in some ways can be wonderfully subversive in its own right, but also can be an act of la-la-la-la nevermind the horrors of the Industrial Revolution pretty dresses wheee!!
The gadgetry of steampunk can be part of a reordering of expectation, or they can just be there to look sweet. Either one is fine, though of course I have my preferences for the former. This is my problem with steampunk: I don’t know, often until very late in the game, which kind of book I’m reading. I read with different parts of my brain depending on genre, and it’s possible even to argue that genre is a shorthand letting us know what part of the brain to read with. I’m not going to pick up a fantasy book about elves and magic and start nitpicking that magic violates the rules of physics, therefore it’s a bad book. Or I could, but I would be lame. I approached Soulless looking for spectacle, which is exactly what I got. But I’ve fallen into the gap in steampunk’s split-personality ethos before with Meljean Brook‘s Iron Seas series. I read the first one with the part of my brain reserved for romance novels – not the dumb part or anything, just the part that isn’t going to nitpick world-building or plausibility – when I would have had a much better time reading with the SFnal part of my brain – the part that gets off on well-constructed alternate histories. Because, damn, she’s rocking the alt-history so hard in that series.
Having thought I learned my lesson about judging a book by its steampunk cover, I went into Geared for Pleasure
However, even with my critical world-building brain mostly off, I have so, so many problems with this world. It’s not even so much nit-picking — going after details — as it is a fundamental incoherence in how this society is constructed. I was trying to explain the plot to my husband last night, and started in with bitching about the Queen. I likened her to Queen Amidala, even though their illogic is somewhat different. Queen Amidala is an elected monarch? How the hell does that even work? And why does she seem to have zero political sense and spends most of the movie running around pretending to be someone else? Presumably she’s got, like, actual work to do running the planet, even in exile, other than hair-brushing? Anyway, this queen was like that. Everyone loves the crap out of her, sees her as fundamental to the order of society, even though society appears to be a rigid kleptocracy that practices eugenics on a broad scale, has enslaved a whole race of cat-people, and is otherwise a total shitshow. All ills in society are blamed on some group called the Theorrean Raj — possibly a Senate or House of Lords? even though they often seem like a secret society? or possibly even just one evil dude who works behind the scenes? — whom everyone despises. Seriously, what the hell is the point of the queen if she can’t even run her own society? What is she even doing with her time?
And the principles — the two queen’s guards — are members of some racially constructed group, who, and I didn’t get this until way into the book, are understood to be an incredibly corrupt police force even though our two protags are all sweet honor-bound bunnies? Throw in a pimp-with-a-heart-of-gold, a piratess airship captain who, while being neat and badass and all, is a total psycho, murdering her crews almost casually. But everyone loves the queen! For no apparent reason! And this explains behavior that is otherwise absolutely confounding on a character level. Which is where my problem lies (lays? whatever; I hate these verbs): it wasn’t so much that the world didn’t make sense, it’s that it made so little sense that I couldn’t track why anyone was feeling anything about anything. This was less of a problem in novella one, which is a pretty solid virginal-type-learns-a-valuable-lesson-about-her-vagina tale, but in novella two I was so confused about the romantic leads’ cultural situation, societal placement, and what the hell their exact problems were that my emotional investment was pretty well fucked. If I can’t figure what’s going on, I can’t care about the outcome. I couldn’t even try to explain what that final reveal was, or what it might mean. No sense, you has it.
So why the three stars, you ask? Some of this is round up, I admit, because this as really just ok for me as a reader. But if I come at this novel with the romance reading part of my brain, there’s some interesting stuff going on. Waaaay back in the early days of my romance reading project, I complained about how some novel seemed to walk up to issues of domination and submission within sex writing, only to chicken out completely. (I think the exact scene was one where the heroine drove the hero to fuck make love to her so hard she bruised. And then nothing! No commentary about this desire for the hard fucking in the novel at all. Given Bella Cullen’s wedding night bruisings — complete with amnesia! — this seems to be A Thing.) While the set up to the sex-show thing that goes on in novella one is totally dumb and makes no sense, the ways that scene walked around consent and domination and voyeurism were pretty cool. There’s even some same-sex interactions that don’t seem to run TEH GAY PANIC, and gesture to the ways sex is often mechanically sex, while desire is a whole other issue. Neat.
Novella two’s romantical story was hamstrung by my not getting what was going on, but the themes of domination and submission, when I did get it, were handled credibly. Novella two has to do with a sexually promiscuous dominatrix thief cat-person, and I bitchily said somewhere that I expected her to get her spanks, and then love the dude for it. Which kinda happens, but then was more complicated than that. She’s having a crisis of conscience, and dude is confronting his own limitations as an alpha dude. I mean, there’s a fair amount of waaaaanghst here, but there was a charged push-pull that navigated personal sexual proclivities and personality pretty well. Plus, did I mention that she is a sexually promiscuous dominatrix thief cat-person? Who isn’t slut-shamed? Good lord, a star for that alone.
So, anyway, I can’t really say I’m going to bother with book two of this series — my problems with the world-building are probably only going to deepen — but I wouldn’t be averse to trying out some of Grace’s later books, if she writes them. She’s got a pretty inventive world here, even if it makes no godmamn sense.
Zombies Vs. Unicorns
Zombies vs. Unicorns
So, to the individual stories:
“The Highest Justice” by Garth Nix: Aw, Garth, man, you know I love you, but this story was not a success. It displays his typically good writing, but the story doesn’t go anywhere. It felt like the beginning of something interesting about the source of power, of rule, of justice, something that could have developed but it strangled off way too short. Shame, really. (Points for being the only story with both a zombie and a unicorn.)
“Love Will Tear Us Apart” by Alaya Dawn Johnson: I liked this one a good deal. A zombie story, but with a novel explanation for the zombie protagonist, who is not a shamber or a groaner, but instead an emo teenage serial killer with a prion disease. God help me, it’s also a love story, one that was surprisingly effective. (The zombie kid’s not really dead though, so I didn’t have to freak out. Necrophilia = gross.) The zombie metaphor usually comes down to the whole mass consumerism/inevitability of death thing, but this twisted the drive of hunger with desire, along with some Oedipal fun. The romance is between two boys, and I know there’s something here about coming out and passing and all that, but I haven’t sorted all of that out yet, which makes the story surprisingly layered for a short story. I also really enjoyed how the characters talked about music and art, not in a topical name-dropping way, but in the obsessive enthusiasm and status-displaying name-dropping way that captured something really perfect about adolescent courtship rituals. Yup, I am a dork and grown-up for writing that sentence that way.
“Purity Test” by Naomi Novik: Urban smartass meets smartass unicorn. I don’t know, this didn’t really work for me, but I think it’s really more me than it, and the smartassery was pretty solid. There was something tonally off for me between the hungover runaway teen sleeping in a park set-up, and the bubbly, cheeky froth that was the dialogue. But, I give it tons of points for a solid Leia reference.
“Bougainvillea” by Carrie Ryan: Yeesh. Very effective and beautiful story about the daughter of an island dictator after the zombie apocalypse. The story ripples with nostalgia, which gets its throat slit in the final pages. Tears the hell out of wish-fulfillment narratives.
“A Thousand Flowers” by Margo Lanagan: Now, this is the stand-out in this collection, no contest. I didn’t expect a unicorn story to creep the freaking stuffing out of me, but this does. I really expected something different from the set-up: a peasant boy finds a ravaged noblewoman in the forest. You can almost write it from there: his tender ministrations, blooming love, whatever. No. Reminded me strongly of one of Angela Carter‘s wolf stories, the way it plays with narrative voice, the creation of folklore, bestiality (!), a bunch of other stuff. My word. Forbidden love never seemed so wrong.
“The Children of the Revolution” by Maureen Johnson: Maybe I’ve read too many zombie short stories, but this hit a lot of marks I’ve seen in the zombie dance before, but a lot less effectively. I just didn’t like the barely coded references to certain actresses, her rainbow tribe, and her hot actor boyfriend. (No, not Josephine Baker.) Felt lazy. Points for creepy kids though, even though creepifying kids is maybe too easy too.
“The Care and Feeding of Your Baby Unicorn” by Diana Peterfreund: This is another one where my disinterest is probably more personal than objective. I found myself shimming a lot, because there seemed like a ton of extraneous information, which in a short story seems weird. I found the concept of the venomous unicorn silly beyond the telling of it, and I thought the set-up of the religious household and their weird ideas about the return of venomous unicorns (seriously, it makes me laugh to write that) both underdeveloped and overdetermined.
“Inoculata” by Scott Westerfeld: Hmm, liked this, but it felt like an opening act, and I wanted the ideas explored more fully. So it’s pretty great as a teaser, but fails a bit as a short story, because it’s certainly not self-contained. Maybe that’s a bs thing to complain about – wanting more – but sometimes I think not enough credit is given the the form of the short story, its conventions and expectations. I’m not a short story aficionado or anything, but it bugs me when the thrust of the story can be spoilered in a short sentence in the editorial opening.
“Princess Prettypants” by Meg Cabot: My affection for this story is certainly beyond its literary merit, because it’s going to be dated in 15 minutes, and might be overly teen-y for some. A girl is given a unicorn by an aunt who always gets the gifts wrong – you know the aunt, the one giving you teddy bears in your mid-twenties – a unicorn who farts rainbows – literally! But then, date rape! sexting! the boy next door! Super fun to read though, and you go, girl!
“Cold Hands” by Cassandra Clare: Fail. I’ve heard tell of this Cassandra Clare from all the flaming and whatnot on the bookblogoverse, but I’ve never read anything by her. I think I’ll leave at this. Other than a bunch of other niggling nitpicks, my biggest problem was where the eff is this taking place? It’s all medieval whatever Dukes and public hangings, but then there’s CDs and pop cultural references, and the set-up is all, hey this one sorcerer cursed the town, and I’m like, okay, then, we’re in England? Wait, just kidding, England doesn’t actually have magic, and the monarchy is constitutional these days, so, seriously, where and when are we? Plus, everyone sounds like Americans. It’s a frustrating lack of coherence, one that started me picking the threads, and then the whole story fell apart. The more I think about it, the more this story fails – seriously, why don’t they just burn the dead – curse over! – and rrrromantic stories with zombies grrrrrosssss me ooooouutt.
“The Third Virgin” by Kathleen Duey: Another metaphor that I did not expect to be explored through unicorns, this time centering on their healing powers, but I don’t think this one worked as well for me. It’s told through the voice of unicorn, a voice which is pretty boring and overly expository, and would probably be better served through a third person narration. Good though; not perfect.
“Prom Night” by Libba Bray: A really nice sucker punch of an ending on this collection. The zombie apocalypse takes the adults first, leaving a town of traumatized teens aping adulthood. They play at jobs, take drugs, try to reenact the rituals that mark the movements from one stage of life to another. Yeah, right. Here it comes.
Daughter of Smoke and Bone: Auspicious Beginnings
I think I made a mistake when I read Daughter of Smoke & Bone so quickly after coming off of the high of Lips Touch: Three Times. Laini Taylor’s got a hothouse style, bejeweled and voluptuous, but cut with a street level sense of banter. This really worked for me in Lips Touch, but here I felt the style was unsteady, or possibly just badly matched to the setting. I’ve complained at length about “poetic language” elsewhere, but the sort form of my complaint is how sometimes writers mistake ornament for essentials, writing a bunch of flower petals when you should write the rose down to the roots. This started reading like that at points: everyone an impossible collection of traits both exquisite and ravaged, rain-slick cobblestone, and an anachronistic American sense of the desultory charms of Europe. Sparrow in her review calls this the “American girl behind the curtain,” which is pretty freaking perfect, really. On the one hand, Taylor’s style is brilliant, making the nod to the readership, a sort of tuning fork with twin prongs of youth culture and diction vibrating against this dreamy vision of the exotic adult world. On the other…I don’t know, I don’t want to complain too loudly here because this worked for me more than it didn’t.
So. Karou is a magical teen in a parent-less Prague, living a double life of artistic adolescence and demonic purpose. Raised by monsters behind a magic door, she helps her parent surrogates acquire teeth for occult purposes by night, and has a tumbling, active teen life in the dreamiest of imaginary schools, with friends raised by gypsies and vagabonds. As I write this out, I’m impressed I didn’t throw this book down in a chapter, because a double special teen and her problems of not fitting in, especially in contrast with how fantastically desirable her beautiful boho-chic life is, this is not a story for me in the abstract. So, yeah, maybe all my bellyaching in the above paragraph is bs, because Taylor’s style is full-throated, strong enough to pull me through what is functionally a paranormal teen romance, and pull me through happily. She’s not making mistakes but choices in her writing manner, and they are smart choices.
And, while I called this a paranormal teen romance, that’s not accurate either. Or it is for the first half, until some things change in a way that it is beyond spoiler to detail too closely. I’ll just say this: these are not simple reversals, where it turns out that good is evil and vice versa, where love conquers all. The last half does pull the flower out by the roots. The shape of Karou’s world expands and textures with her growing understandings, but it also becomes more limited, not just because all the magical doors close, but because of why those doors close, and how, even opened, the doorway will never lead to the same place. This is a nice metaphor, one that works well with the way growing up is an unwieldy mix of upped stakes and diminished prospects, how the open path of all possibilities shrinks once you understand where that path started. I am often bothered by paranormal stories because the magic is pointless, meaningless hokum – oh look at my pretty blue hair, which I have only to show you how special I am – but here the magic is hokum with teeth, and the blue hair isn’t just ornament but signifier of something true and awful: all magic, even the necessary magic of knowledge, comes at a price.
The ending is both breathless and abrupt, the hammer hammer hammer of revelations held aloft in the moment that Karou has to decide what to do next. It’s not exactly a cliffhanger – the questions that fuel the plot have been solved, the riddles of childhood explained – but the story is far from done. I’m not frustrated so much as worried. I think I can trust Taylor, given how adept she is here at reordering the special girl paranormal narrative into something more…what…meaningful? complicated?, but until I know what happens next, where this story takes itself, I can’t say for sure. I pretty much hate when people say, oh but you have to read the whole series to know what you think of the first book, because usually those people are idiot trolls telling me I have to bump up a negative rating on some crapass thing I disliked. But, there’s some truth in it, even for things I liked, and liked a lot.* Star Wars is a kickass three-movie series, but the prequels, if you admit they exist, retroactively encrapify that ass-kicking a bit. (A bit more than a bit if I’m being honest.) So four stars, close to five, for my enjoyment of this book, for its masterful unfoldings. Pray heaven the next blooms that promise into something just as good. You can bet I’ll be reading it.
*Though I’m not changing ratings on things I disliked, especially if I disliked them enough to stop reading and get to the 2000 page mark where I’m told things get awesome, thank you, just as I won’t change this rating even if the next disappoints.
Forests of Narcissistic Sociopaths, Which Could Have Been Cooler Than It Was
The Forest of Hands and Teeth
I really enjoyed the beginnings of this story. There are often structural samenesses to zombie fictions: the first zombie, the first bitten, the ethics of a group of people trying to get out of the city, the electricity cutting out, the failure of society. Here, it is generations after the First Night, an insular community built in a tenuous enclosure, the constant dampening vigilance of checking the fences, the conservative high-handedness of the political/religious institutions that enforce social norms because, well, it is true that an individual’s single stupidity can bring those fences down. Of course, institutional stupidity can do the same, and without transparency, the individual cannot protect themselves from collective stupidity either. Nice.
And Mary’s troubles were interesting at first too: her mother’s choice to become a zombie and search unthinkingly for her late husband; her brother’s anger at how Mary’s actions will result in hard choices for him; his early rejection of her. Even the fairly standard love triangle had potential, written at first with a kind of obliqueness I enjoyed, though I am no fan of the love triangle. I am often shouting priorities, people in zombie fiction – good gott, leave that family photo album behind and save your skin – and here it was complicated with the dreary everydayness of the zombie threat. Indeed, why can’t Mary choose the boy she favors? Why is this society so weirdly sexist when it is run by a Sisterhood? How is this society dealing with the inevitable infidelities that will occur when people have to marry for convenience? After several generations with a small group – no more than a couple hundred – do you have to worry about incest? Some of these questions are answered, and some of them are answered badly, and some of them are ignored completely as Mary’s tics, obsessions, and needs overtake the story and obliterate sense or character.
Mary’s two love interests, a pair of brothers – hot! – are never even partially realized, and the fourth wheel, a friend betrothed to Mary’s paramour, she is dealt with shabbily, in that way that cuts down female characters other than the heroine. (I can’t even unpack Sister Tabitha at the moment, but when you put her fervent abstinence and cruelty up against the mother, who shows up only to die for love, abandoning her children, you have your usual ugly portrait of maternal figures in parallax. One’s an ineffectual noodle; the other a stone bitch.) Mary shows more compassion towards a fast zombie threat, a girl called Gabrielle, than she does any other character.
Wait, let’s think for a minute about the love triangle, if one can even call it that. I get the impression – and I don’t pretend to know YA that well – that the triangle is a major component of much young adult writing. This makes sense; I see a lot of the themes of mass produced fantasy for women sinking down into YA. (Or bubbling up? Choose the metaphor that works best for you.) If you look at rom coms aimed at older women, you regularly have the Byron and the Baxter, tropes played for laughs for an audience who has likely chosen their Baxters after learning that the Byrons are a bunch of alcoholic dickbags who will steal from you and bang your roommate. But it’s fun to wax wistful about how jaunty the beret is.
In YA, this choice is a little different. The best triangle I can think of is between Peeta and Gale in The Hunger Games. These two characters embody choices that Katniss has to make about what aspect of her personality she wants to nurture: Gale’s anger or Peeta’s compassion. Love is a political choice as well as a personal one, and the fact that Katniss has to chose, and the choice she eventually makes, is riddled with regret and sadness. Here, the boys embody nothing, as far as I can tell. One has always loved her, the other has always stood aside. One makes a horrible speech about how amazing Mary is, when I do not trust that at all. Why is she amazing? Because she has an obsessive dream that does no one any good, and a lot of people ill? I guess I amaze at that, but certainly not the way the speachifier intends. Not getting too far into spoiler territory, I find Mary’s last ditch, and the way she treats her brother horrifying in the extreme – you, Mary, are as stone a bitch as Sister Tabitha, adhering to your insane idealism that is not dissimilar from hers. Except you never cared about community one whit.
Though the writing is quick enough to keep you moving along, the middle section is a muddle, a Mordorian series of slap-fights, being hungry, and bickering. Will she work out the Roman numerals, or won’t she? My money’s on that she will, because otherwise we have wasted a lot of time pondering something the reader knows already with no freaking payoff. The section at the other village had me paying attention again, but it was for naught. Despite the fact that she is functionally co-habitating with her lover, her relationship with him never feels more than topical, two people in the same room, but silent. Maybe some of this is the YAness of the book, but one does not have to talk about the inevitable sex those two are having to discuss their relationship, to have it be more than OMG sparklez I lurves him.
I feel like the later events grow more and more random, finally depositing Mary at the source of her obsessions, thinking back on all the people laid waste by her choices. (But not really thinking, more musing to herself –[remember that time when I got everyone I know killed because of a childish, useless dream? That was awesome. What’s for dinner?) I really liked the zombie story written by Ryan for the Zombies Vs. Unicorns collection, because I felt like the story dealt with certain kinds of narrative narcissisms with a pickax – a girl raised up on romantic fictions learns bloodily how useless they are – but the way this one goes, I’m beginning to wonder if my reading there was against the grain, like I was wrong. Maybe I was to take away from the short story that the girl was wrong for discarding romanticism. If I’m to think of Mary as something other than self-involved to the point of sociopathy, then I don’t much like this book. There’s some wiggle room here, and maybe I’m to cower at the horror of idealism, given how destructive Mary’s single-mindedness is. This is a pretty subtle point though, one that if it is being made here, is likely laughing at the intended audience, which discomforts me as well. If Ryan is showing romantic cliches in their worst aspects – the antisocial nature of love, devotion to negation -that is wonderful, but she never shows her hand or lays this bare.
I don’t know. I liked the very beginning, and the writing on a sentence level, but I’m not impressed by the characterizations or all of the dropped threads. I’ve seen YA novels which mess with romantic tropes a ton better, like Daughter of Smoke and Bone, with its Romeo and Juliet stylings that go in unexpected ways. Here, it wasn’t so much unexpected as confounding, and I’m left standing on a beach full of corpses looking for the way of things. There’s another book, at least, in this series, and I’m curious to see where it goes. I’m worried, worried a lot where this will go, but it is okay for now