Scandihoovians – Ceridwen Anne

The Year in Reading: 2023

As we approach the new year, I feel like it’s customary to look back and castigate ourselves on not learning French or how to knit or whatever, and promise to do better next year. I probably will never learn French or how to knit, but I will likely continue to read a lot. There isn’t any particular theme to my reading, but there can be clusters of interest. As always, there’s a disproportionate number of books which are zombie or zombie-adjacent narratives. I also seemed to gravitate to lighter Star Trek/Wars-y space opera this year. And if last year was the Year of Seanan McGuire, this year was The Year of Martha Wells, which kind of crept up on me. She was guest at Minicon, so I started reading her stuff to get more out of her panels, and then just never stopped. I also feel like I did more audio this year, although maybe it just feels like it because of the commute.

So here’s an incomplete summary of what I’ve read this year.

Zombruary: February was given over to reading zombie books, like usual, but then of course I read a bunch more as the year went on.

Devils Wake by Tananarive Due and Stephen Barnes. A bunch of juvenile delinquents try to ride out the zombie apocalypse in a summer camp outside of Seattle. Excellent dialogue and a well-rounded cast elevate a familiar early outbreak narrative, plus mushrooms are going to kill us all. I never read the sequel, but maybe this Zombruary.
Hollow Kingdom by Kira Jane Buxton. Also set in the PNW, this zombie outbreak is narrated by a pet crow, which sounded delightfully strange. It has potential, but bogs down horribly in the middle with a lot of flashy, overwritten prose which doesn’t do anything, and I’m still mad about the death of that one character.
Last Ones Left Alive by Sarah Davis-Goff. I’d read this before and enjoyed it, but then also really didn’t understand what happened at the end. I’ve always said zombie stories are especially attuned to location – at least as much as mysteries, if not moreso – and Last Ones Left Alive is very, very Irish. Orpen is raised off of the West coast of Ireland on an island free of the skrake; she has to go to the mainland once her mother is killed and her other mom bitten. I still don’t know what happened at the end, but at least the sequel came out this year so that might answer that.
Handling the Undead by John Ajvide Lindquist. Lindquist burst onto the scene with his take on vampires in Let Me In; here he tackles the reanimated dead. There’s a lot of nice stuff in here about how the return of loved ones would disrupt the grieving process and complicate the relief of death, and several sequences that gave me the screaming fantods – the bath, that eel – but the novel unfortunately falls apart in the end.
Eat Brains Love by Jeff Hart. Rompy YA novel with two pov characters: a just-turned zombie – the kind that look totally normal if they keep eating people – and a teenaged psychic who is part of a government team that puts down zombie outbreaks. The sort of Sleepless in Seattle-style romantic subplot did not work, but otherwise the plot zips along with enough action and humor to keep you from nitpicking.
Zombruary was over when I listened to Zone One by Colson Whitehead again. Boy, but I love that novel, which is weird, because it’s aggressively literary and absolutely unconcerned with genre, if you take my meaning. A depressed guy moves to New York, like he always dreamed of doing, and it doesn’t help the depression one bit. With zombies.
Everything Dies by TW Malpass. Complete opposite of Zone One: totally pulpy and genre-bound to a fault. It’s fine, but I am absolutely sick to death of cartoon bad guys threatening sexual assault to prove the situation is serious.
The Rise of the Governor by Robert Kirkman and Jay Bonansinga. Remember that thing I just said about sexual assault? Well, strap the fuck in. Maybe, maybe this could have worked if it was a portrait of Phillip Blake — aka The Governor, early antagonist to Rick Grimes and the Rickocrats — largely through the lens of his younger, bullied brother, Brian. But then, plot twist! Brian takes Phillip’s name at the end, after his brother finally, deservedly gets his head blown off. This means I’ve read through several hundred pages of some asshole raping and murdering his way through the zombie apocalypse, only to have an eleventh hour protagonist switch which gives me zero insight as to how Brian turns into the Governor. I mean, I think I’m supposed to postulate some sort of dissociative PTSD-induced DID, but that’s fucking stupid and not how any of this works. Ugh.
The Investigation by Stanislaw Lem. Corpses of the newly dead start getting up and walking out into the snow; after an interval of less than a day, they fall down dead again. Set in 1950s England, The Investigation is something like a satire of the police procedural crossed with a Gothic novel, and as those are almost completely antithetical genres, it’s occasionally brilliant but often confusing. (The time displacement is a thing too; it’s been 65 years since this novel was written, and I found a lot of the social mores perplexing.) It’s still Lem though, so funny in a desert dry way and brisk enough to tug me along to the end, even if I didn’t always get what was going on.
Empire of the Dead by George A Romero. No one told me Romero wrote comics! Y’all are on notice. Set loosely in the “…of the Dead” universe, Empire of the Dead asks, but what if vampires too? This leads inevitably to existential questions re: the various kinds of undeath, some of which are dealt with hilariously. It is set in a very stupid classic dystopia tho, which I did not enjoy.

Various Series..es I Continued or Reread: I feel like I have an escalating number of series that I either haven’t finished or the author is still putting out installments, which isn’t helped at all by the fact that I have a tendency to wander away about two books into any given trilogy.

Wolfhound Empire by Peter Higgins. I read the first installment, Wolfhound Century, a dozen years ago when it came out, but then never followed up. I listened to that and the sequel, Truth & Fear, to and from work, and then discovered, to my eternal irritation, that the final installment was never read out as audio. Really cool steampunky alt-historical take on the Soviet Union, with a side of eldritch horror. I guess I’ll have to read the third.
I also listened to the entire Southern Reach trilogy by Jeff VanderMeer — Annihilation, Authority and Acceptance — which is an excellent audio. (Bronson Pynchot is a stupid good narrator; who knew?) I find that entire series incredibly disquieting, especially the second, and as I said before, mushrooms are going to kill us all.
Rivers of London by Ben Aaronovich. Urban fantasy set in London with a local historian’s eye towards London history. Really fun, with a cosmopolitan mix sometimes absent from urban fantasy, perversely. My one complaint is the inherent copaganda of a series with a Met copper as the lead, and in reality, the Met police are fucking awful. Managed to get to book two, Moon Over Soho, before I wandered off, but I’m sure I’ll get back to it.
Galactic Bonds by Jennifer Estep. The first and second of this series, Only Bad Options and Only Good Enemies bracketed the year. Not great! Romance-y space opera set in one of those feudal nightmares one can find in a certain kind of scifi. But I have a thing about mate-bonds and how terrible they are, and this series deals head on with how terrible they are, so. Shrug emoticon.
Class 5 series by Michelle Diener: Dark Horse, Dark Deeds, Dark Minds, &c. Compulsively read all five of the books in this series in like a minute. They all involve humans abducted and thrown into real Star Trek-y galactic politics. They remind me of Bujold’s Cordelia books, the way they have great escalating stakes for our principles to clever their way out of. Bujold’s probably crunchier, whatever that means.
Our Lady of Endless Worlds by Lina Rather. I liked the first of this series, Sisters of the Vast Black, better than the second, Sisters of the Forsaken Stars. The overt plot felt a little careworn: I have seen a lot of arrogant, dying empires commit atrocities in pursuit of recapturing their dominion, and might even be said to live in one. But I am a sucker for nifty space stuff, and a group of nuns living on a living spaceship and debating whether to let their living ship go off and mate like it wants to is major nifty space stuff.
Janitors of the Post-Apocalypse by Jim C. Hines. I read the first two a million years ago when I was writing for B&N, and then kinda forgot about the series. Finally finished the series with Terminal Peace. Hines lost his wife to cancer between writing book two and three, and the tonal shift is apparent: For a comedy, this has a strong current of grief. I didn’t mind, as this series has always had more serious themes underneath all the exploding space toilets. I also have big hearts for eyes for working class heroes, and our post-apocalyptic janitors get really inventive with cleaning products.
Earthsea by Ursula K LeGuin. Reread both A Wizard of Earthsea and The Tombs of Atuan. Much as I adore A Wizard of Earthsea, the way it dispatches with the monomyth in a tight 200 pages, I was struck by how quietly, perfectly subversive Atuan is. Gah, I just love it all so much.
Longshadow by Olivia Atwater. The third (and maybe final?) book in the Regency Fairy Tales series, I didn’t love this one as much as the first two, Half a Soul and Ten Thousand Stitches. Gaslamp fantasy in an alt-Regency setting, not dissimilar from Zen Cho’s Sorcerer to the Crown, but interrogating class & disability more than race.
Witness for the Dead by Katherine Addison. Sort of an adjacent series to The Goblin Emperor, Cemeteries of Amalo is something like a police procedural without the police, but with lots of fun bureaucracy and the occasional ghoul attack. The main character is profoundly grieving, which you don’t figure out for a while, and colors all of his interactions with both the living and the dead. Really fine.
Resonance Surge by Nalini Singh. Yup, still on my Psy-Changeling bullshit. I reread the previous two, Last Guard and Storm Echo, to try to figure out what was up with the whole Scarab situation, but then I realized I didn’t care. Last Guard is the best of the Psy-Changeling Trinity books to date, imao.
Murderbot Chronicles by Martha Wells. I’d read them all before, but me and the fam listened to the first six novel/las in this series during long car rides over the year, culminating in the most recent, System Collapse. I just love Murderbot’s bellyaching about how it just wants to get back to its stories. Hard same, Murderbot.
The Fall of Ile-Rien by Martha Wells. Another series undertaken on the commute to and from work, for the most part. Completely odd series, because while I never felt like I was having my socks blown off or anything during books one & two, The Wizard Hunters and The Ships of Air, but by the time I got to book three, The Gate of The Gods, I was completely invested, and spent more time than I should admit to sitting in the garage after the drive home absolutely freaking out by some upset in the book. Kind of steampunk and sort of gaslamp fantasy, the Edwardian English-ish country of Ile-Rien has been losing badly to a mysterious people they call the Gardier. Honestly, the whole thing is so complicated I couldn’t possibly sum it succinctly. As a clash of empires story, it’s notably grounded in personal perspectives, and never loses sight of how trauma and grief work on both societal and individual levels.

Graphic: I didn’t read a lot of comics/graphic stuff this year. I started maybe a half dozen things, but nothing I wanted to read past the first installment. I feel like I used to have better recommendations on what series to check out, though idk what that was or where it went. Oh well.

All the Simon Stålenhag. I completely lost my shit over Stålenhag’s loose trilogy, Tales from the Loop, Things from the Flood, and The Electric State. The first two are a sort of oral history from the children who grew up around the Loop, a CERN-like installation in rural Sweden, in the 80s and 90s. The third goes to America and gets a fuck of a lot darker. I just cannot get over the weird mix of credulity and incredulity that one finds in the adult recount of childhood. Plus there’s this line from the movie Nope that I keep coming back to: what do you call a bad miracle? Because each installment, and increasingly, are characterized by bad nostalgia, which like a bad miracle seems a contradiction in terms. Nostalgia is memory without shame. Completely gutting. (The Labyrinth will also fuck you up.)
No 6 by Atsuka Asano. I’ve been very slowly working my way through this yaoi manga set in a classic dystopia. It’s not amazing, but I’m ride or die for Dogkeeper.

Gothic/Horror/Supernatural: The pandemic kind of messed me up there for a couple years, and I was unable to find much joy in the macabre. But I’m back, baby! Not all of the following books are strictly horror, but they’re all weird in their own way.

American Elsewhere by Robert Jackson Bennett. I’m very susceptible to horror which takes place in the Uncanny Valley — and if that town nestled in that vale is set dressed in mid-century modern trappings, more’s the better. Mona inherits a house in a town called Wink from her long dead mother. Wink is something like Los Alamos, a town created for the scientists in the facility on the mesa. What those scientists were doing was altogether as awful as the Manhattan Project, but more localized. Underneath all the squirming tentacles and mirrors which don’t reflect the rooms they are in is an intensely sad story of indifferent mothers and damaged daughters. Not my usual reaction to cosmic horror, but here we are.
Amatka by Karin Tidbeck. Another book I flipped my shit over, just 100% in my wheelhouse. Something like Soviet Noir, but the mystery is the nature of reality, not a murder. I adore a science fictional bureaucracy, and the world here appears to be literally, physically made out of bureaucracy. Solaris by way of The Southern Reach, with a little bit of Wolfhound Century thrown in.
The Salt Grows Heavy by Cassandra Khaw. I wasn’t in the right mood for this, but forced it, which is a shame all around. I can be on the hook for bloody, beautiful prose that is this side of overwritten (and certainly, for some, would be over the line), and what she does with The Little Mermaid is both upside down and inside out. I might reread when I know I’m in the mood.
The Little Homo Sapiens Scientist by S.L. Huang. Another retelling of The Little Mermaid with a central inversion. The Little Homo Sapiens Scientist is a gut punch of a story, and gave me the kind of world that I would absolutely kill to see in a larger fiction. Highly recommended.
Such Sharp Teeth by Rachel Harrison. I kind of can’t believe I’ve never seen a werewolf novel which uses lycanthropy as a metaphor for the body horror of pregnancy before. The voice is pitch perfect aging hipster millennial (and I mean that in a good way): both self assured and self loathing in equal measures, quipping, funny, allusive. And the werewolf parts are gross. That said, I don’t think the ending was altogether successful. It’s not bad, just kinda tonally off, and the revealed antagonist is disappointing. Still, it was an enjoyable read, and sometimes the getting there is worth the end.
Tender is the Flesh by Agustina Bazterrica. I’ve been desensitized to a certain amount of gore because of my love of zombie fiction, and even then the body horror in Tender is the Flesh was a lot. After an animal-borne pathogen leads to the eradication of everything from livestock to zoo animals to pets, cannibalism is systemized and normalized. Bazterrica is very deliberate in the linguistic distinctions between “special meat” and legally recognized people, and all of the ways those distinctions bend, break, and fail with even everyday stressors. The ending is abrupt, deliberately so, and features violations so intense I literally shuddered. Disgust is a function of both empathy and contempt. Jfc.
Carmilla by J. Sheridan Le Fanu. I feel like I need to make a tag called “tragic, romantic hair-brushing” for my reading. Just off the top of my head, I would tag this, the Dollenganger books, and The Bloody Chamber by Angela Carter.
The Fall of the House of Usher by Edgar Allan Poe. Somehow missed this one when I read all my Poe at 16 or so. Completely bugshit; loved it.
A Night in Lonesome October by Roger Zelazney. There are 31 chapters in Lonesome October to correspond with the 31 days in the month, so I did the thing where I read a chapter a day (mostly). The novel is narrated by a dog and features a cast of Gothic types – vampires, magicians, Sherlock Holmes, &c – and their animal familiars, so it’s definitely on the goofier end of Gothic fiction. Delightful and strange.
The Scapegracers by HA Clarke. I want to write some quip about how The Scapegracers is like The Craft for Zoomers, but this is exactly the same kind of facile analogy as when people call Lev Grossman’s The Magicians “a grown-up Hogwarts.” It’s not just The Craft for Zoomers; it’s a witchy, queer, neurodivergent coming of age that you didn’t know you needed, but you do.

Various One-Offs: Not everything fits into a neat category! So here’s some stuff that didn’t fit anywhere else.

Station Eleven by Emily St John Mandel. Speaking of The Magicians, I decided to read this novel because I became completely obsessed with the show adapted from it. I liked the show better, but the book has a lot going for it. Station Eleven is often (but not completely) a post-apocalyptic pastoral, of the type that Ursula K Le Guin or John Crowley or even Kim Stanley Robinson wrote in the 70s and 80s, but haven’t had much traction in our more saturnine times.
Rosencrantz and Guildenstern Are Dead by Tom Stoppard. Continuing the Shakespeare month I was having, I listened to an audio version of Stoppard’s first play on the way back from seeing the most recent Guthrie production of Hamlet. It’s definitely the work of a young, clever man: brilliant in places, but also completely beset by its own im/mortality in ways the works of older people never are. Weird, that.
Final Night by Kell Shaw. Could also file this under “zombies,” but that’s not really accurate. Kind of an oddball mix of an alternate present based on some high fantasy fol-de-rol, and an urban fantasy set-up wherein a person has to solve her own murder, 20 years before. Not entirely successful, but then also energetic and interesting enough to keep me reading. I appreciate when people do weird shit with sometimes tired tropes.
Catfishing on CatNet by Naomi Kritzer. I really, really loved the way Kritzer captured how friendships formed on the internet work, without treating them like lesser order relationships. I doubly appreciated how she captured the familiar/strangeness of meeting someone you’ve only known through a text medium. I haven’t read a lot of YA recently because it makes me feel old, but this was pitch perfect.
Redshirts by John Scalzi. Honestly, this is the laziest sf book I’ve read since late period Asimov, with exactly the same ratio of casual mastery to dumbass what-the-fuckery. Fans of Scalzi’s writing will find this the kind of thing they like; the rest of us end up with a stress-response to dialogue tags, because literally every single utterance has one, something which becomes unavoidably obvious when you, say, listen to the audio.
A Dead Djinn in Cairo by P. Djèlí Clark. Neat little short story set in an alt-history Egypt, one in which the world-building is a central character. I keep meaning to read the other fictions set in this world.
The Fellowship of the Ring by JRR Tolkien. It’s been a minute since I’ve read this, long enough that some of the movie-stuff got set as book-stuff, so it was nice to course correct. It’s such a flex to spend just ages talking shit about hobbits before ever getting into the story at all, and then when you do, it’s another age of Frodo mooning about the Shire doing a lot of tragic, romantic hair-brushing (another for the tag??) Andy Serkis does a damn fine job as narrator.

Currently Reading: I’m still working on a couple things.

The Reformatory by Tananarive Due. Historical horror set in a reformatory in Jim Crow Florida. Due has a really beautiful prose style, which is good, because the relentless cruelty the main characters are subjected to is painful. The novel is dedicated to an uncle who didn’t make it out alive.
Ghosted by Amanda Quinn. A gender-switched contemporary take on Austen’s Northanger Abbey which so far is pretty cute. The main character is Hattie Tilney, whose mom is the emotionally distant headmaster of a boarding school. It’s a little over-determined — the theme is ghosts, and a lot — but I’m really digging Hattie’s barely-maintaining overachiever and her shitty, transactional friends. I’m really curious how she’s going to manage the last bit in OG Northanger, where Gen Tilney turns Catherine Morland out like an asshole.
Exit Ghost by Jennifer R Donohue. Another gender-flipped take on the classics, this time Hamlet. Not as far into this one, so I have less to say, but I really loved what she did with the ghost-on-the-battlements scene.

So! That, as they say, is that.

(Here’s my roundups from 2022 and 2020; 2021 was difficult.)

An Incomplete List of Oddball Zombie Movies I’ve Enjoyed

I finally caught the companion film to South Korea’s Train to Busan, the animated Seoul Station. It wasn’t nearly as affecting as its live action antecedent, but I completely appreciated how Seoul Station went in unexpected directions, and focused on relationships not normally detailed in either zombie movies or, like, regular cinema. This got me thinking about more obscure zombie movies I have known and loved, stuff that either goes straight to video, or only hits a theater or two in LA or New York. Many of these movies hail from other countries and cultures, which lends grist to my pet theory about zombie movies being largely about national character, much more so than other monsters.

The vast majority of zombie movies, high or low budget (but mostly low budget), are produced in the United States. There’s a lot of reasons for this: the US produces many more films, in general, than the rest of the West. Also, the United States (and Pennsylvania more specifically) is where the modern zombie was created in Romero’s game-changer, The Night of the Living Dead. I know there were zombie films before this, but Romero so utterly changed the landscape that they’re as different as chalk and cheese. In the same tradition, yes, but it’s like comparing the ghouls in the 1932 film Vampyr to modern vampires: similar in name only.

The ways zombie fictions ruminate on class, race, consumerism, and the nuclear family was set within an American film tradition, and not always or often in a good way. So much of the long tail of American zombie movies — the sort of thing found in deep dives into “if you like this, then” on your streaming platform of choice — is fucking trash. Americans can’t help but America, cinematically speaking, so the instinct to fascism, spectacle as unearned catharsis, and violence as morality pervades a lot of American zombie movies, regardless of budget. TL;DR: many American zombie movies are Libertarian (if not outright fascist) garbage fires, with a sideline in diseased gender roles. (This is somewhat ironic, given how Romero’s zombie films were always brutal social commentary against exactly that.)

Apocalypses in general are local affairs, once the lights dim and the communication systems blink out. The world narrows to the distance you can travel on foot — at least once the gas runs out, and you leave the car behind — the skyline streaked with the smudges of burning urbanity. But zombie narratives go a step further, reanimating strangers, neighbors, family, and friends in the subtle tweaks and twists of national character gone feral: slow or fast, cunning or mindless, diurnal or nocturnal, contagious or endemic. These monsters show what we become in the 24 hours and three meals from the end of it all.

Warning: possible spoilers in the film descriptions.

USA:

Maggie

What makes Maggie notable in the context of American zombie movies, a film that collects together Arnold Schwarzenegger, Abigail Breslin, and Joely Richardson, is its taunt, Gothic rumination on the parent-child bond. It opens with Arnold traveling into a disease-ravaged LA to collect his daughter, Maggie. She’s infected with a zombie-ish plague, half-dying and half-alive in some overrun city hospital. All the small cues tell you she left because they were estranged — hard to say whether it was the normal estrangement that finds children growing into adults, or a deeper one. When they return home to the family farm, it’s clear it’s both: she’s a normal teenager fed up with her Boomer father, and then also he’s got a new wife and small children who have supplanted her in some ways. I have some autobiographical reasons for why this resonated hard. Anyway.

Maggie muses in a sometimes overly self-serious way about coming home. Maggie, the character, does a retrospective of her adolescent relationships — complete with teen party with a bonfire on the beach — just short years, or long months, after she leaves home. When her step-mom leaves with her half-siblings, it leaves her alone in the house with a dad who can’t even begin to understand, but is turning himself inside out trying. The ways they never quite connect, right up to the bitter end, are shattering, the kind of thing that set me sobbing, an outsized emotional response to what is largely an understated and grayed out emotional landscape. This the best, most finely detailed work Schwarzenegger has put to film in his latter day career.

UK:

The Girl with All the Gifts

When I first learned they changed the race of Miss Justineau, the living teacher of an undead classroom in The Girl with All the Gifts, from black to white, I was worried. In the novel by M.R. Carey (aka Mike Carey, for all you Hellblazer heads), Miss Justineau was black, and the undead child who cleaves to her white. The film reverses this, and it actually works really well, almost better in places. Making Helen Justineau a non-malignant version of the Nice White Lady ministering to children whose humanity is completely denied, and who are black [same/same] says something very different from the reverse, especially with how it shakes out in the end. (And unrelated aside: it’s notable to me how many of the films on this list started life — or undeath muahaha — on the page, and how successful their adaptation. Not everything is World War Z: The Less Said the Better.)

The Girl With All the Gifts is one of a teeny tiny trend of fungalpunk horror, of which maybe the most successful was the Area X trilogy by Jeff VanderMeer. Carey’s story found inspiration in the nightmarish real world story of zombie ants infected by a fungus which drove them to uncharacteristic behavior, after which the fungus would fruit out of their ant heads. The images of ants with fungi protruding from their head carapaces legitimately freaks me out, and I don’t necessarily empathize with insects all that often. The film hews closely to the plot of the novel, a road trippy rumination on a ruined Britain. The girl who plays Melanie is wonderful, playing her smitten child with a sense of resigned sobriety that gives her an out-sized presence. Glenn Close delivers a quietly seething version of the amoral scientist, which is an interesting twist on a trope that tends to oily bombast (e.g. Stanley Tucci in The Core, which is hands down the best version of this ever put to film.) I love both iterations.

Canada:

Ravenous (or Les Affamés)

Sometimes I find the cultural context of specific foreign films so baffling as to render the “meaning” — insofar as that’s a thing — quite opaque. The French-Canadian Les Affamés falls into this category for me, but in a still strangely satisfying kind of way. Much of Ravenous falls into the mode of the zombie road trip, stopping occasionally to eavesdrop on the dead and their inscrutable machinations, or to enact the living’s more visceral conflicts. (And the dead in Les Affamés are truly strange, piling up teetering obelisks of domestic stuff in a clearing in the woods, or here, or there.) There’s this old saw for writers that “dialogue is action” and that almost reductive aphorism maps onto zombie narratives in this weird way. The drama in Ravenous is all in its dialogue and tense standoffs between survivors; the zombie attacks are almost a relief.

Pontypool

The source material for the film Pontypool, Pontypool Changes Everything by Tony Burgess, is both typical and an exemplar of his work. Burgess excels at either elevating pulp to high art, or elevating high art to pulp — because he somehow manages to write deeply philosophical works using absolutely sick imagery, while not prioritizing either. (See also: The Life and Death of Schneider Wrack by Nate Crowley.) This is not an easy thing to do! In fact, I can only think of a couple writers who successfully use the vernacular of both highfalutin literature and pulp styling without denigrating either.

Anyway! Point being: Pontypool is somewhat loosely adapted from the source novel, and in the very best ways. I can’t imagine a film version that somehow cut that impossible middle distance between high and low art that the book does; this will not translate to the screen. Instead the film is a taunt, almost stagy locked-room drama which focuses tight on a couple few characters. Some aspects of the film have become quaint — the whole concept of a “shock jock” has been superseded by media twisted into propaganda by authoritarianism — which takes a little sting out of the proceedings. It’s still an excellent film.

Denmark:

What We Become (or Sorgenfri)

Many of these movies — at least before they are translated into English — have locations in their titles, like the aforementioned Train to Busan. The Danish zombie film Sorgenfri — named after a Copenhagen suburb — was retitled in English What We Become. Sorgenfri means “free of sorrow”, in an almost obnoxious irony, but we will give writers some latitude to be obnoxious when place names are this on-the-nose. I fully expect places like Minneapolis suburb Eden Prairie to become hellish pit stops on the way to apocalypse because come on.

Anyway, What We Become makes full use of its suburban locale, which I don’t necessarily see all that often, Dawn of the Dead notwithstanding. There’s some hot-neighbor-next-door, community-cookout action before the infection locks the suburb down. Each McMansion is swathed with plastic, (almost like in the quick-and-dirty Spanish film series [rec] — more on this later), and if they try to push back against the impersonal authorities in their gas masks and machine guns, quick and brutal violence ensues. If this was an American film, I’d accuse it of 2A essentialism: we need guns to fight teh gumment!!!! But … it’s Danish, so that can’t be what it’s about. Or … not entirely anyway.

Much as Americans like to paint Denmark as some sort of socialist utopia (and don’t get me wrong: America’s fucked), there’s the same cultural, social, and economic stresses like any other part of the EU. I have Danish cousins, and the amount of chauvinism I’ve seen expressed about, say, Turkish immigrants is notable. And that’s not even getting into what they say about straight up Muslims, Turks or no. What We Become taps into a very (white) middle class, very (white) suburban fear of intrusion by the other, and also the fear that the other is already there, hidden within. These kind of insular communities are always predicated on fear: on the other, on themselves — what have you got, I’m afraid of it. In Night of the Living Dead, Romero murdered what should be the romantic survivors, in addition to the nuclear family. What We Become lets some of its characters survive, but only after putting you through some brutal familial self-annihilation.

France:

The Horde (or La Horde)

When I first saw The Horde not much after its 2010 release date, I thought to myself, there is going to be a real and bloody reckoning in France about how the treatment of France’s immigrant population. I knew just a very little about the French attempts to legislate the bodies of Muslim women — for their own good, natch — and it was years before the Charlie Hebdo shootings. But the bloody spectacle on display in The Horde was enough to make me prognosticate doom. Pulp fiction tends to tap into the societal hindbrain, and The Horde was doing that in the goriest, most bloody way possible.

The Horde follows a group of corrupt French police on a vendetta into what reads to me like the projects — low income housing that warehouses the poor and undesirable (same/same). There’s some back story about some drug dealer or whatever killing a cop, but none of this really matters. The fight is between two rival gangs, one of which wears badges and speaks “good French”, and the other have accents and dark skin. There’s a racist old codger (I think maybe even a veteran, but it’s been a while) and a couple other residents to round out the group. The combatants end up trapped in a old apartment building while the horde presses against doors and windows. And of course, several end up bitten, turning at the worst possible moment.

The Horde‘s zombies are faster than Romero zombies, and often a lot fresher, the blood still red and the zombie vigorously intact. As we approach the endgame, one of the cops is given a lovingly detailed last stand, and even more intimate horrific death: standing on the top of a car in a basement parking lot, he shoots and hacks until he’s overwhelmed by hundreds of zombies, and boy howdy do they not pan away. I know this was shot later, but the framing of this sequence reminds me of the season three ender of Game of Thrones, which found Daenerys Targaryen crowd-surfing a horde of anonymous browns. It’s notable to me that the image of a white lady receiving adoration for liberating brown people and a white guy heroically hacking at a mob until he’s overwhelmed are shot virtually identically. I’m sure something like The Pedagogy of the Oppressed has something to say about this, but it’s been some years since my theory-reading days.

The Night Eats the World (or La nuit a dévoré le monde)

The Night Eats the World begins with a musician dude, Sam, coming to his ex-girlfriend’s flat to retrieve some cassette tapes he left after the breakup. The sequence at the party with its byplay and character development between the people marked as protagonist and the inevitably disposable partygoers reminds me of the opening to Cloverfield (and, weirdly, the Netflix series Russian Doll.) Sam crashes out; when he awakes, there’s blood on the walls and everyone is either gone or a zombie.

The Night Eats the World is light on zombie kill thrills, if you’re into that sort of thing, much more focused on Sam’s solitary existence and worsening metal state as he holes up in his ex-girlfriend’s for months. The film manages to find some unexplored corners in the zombie apocalypse: this portrait of fearful loneliness in a teeming city. When I first saw The Night Eats the World, I have to say it didn’t affect me much. My enjoyment was largely intellectual: oh, huh, this is almost a silent film; who even does that? But almost two weeks into my family deciding to shelter in place, the detailing of Sam’s mental state as he rattles around the same couple hundred square feet and considers the death just outside the door: well, this is suddenly, horribly relevant.

Germany:

Rammbock: Berlin Undead

Like The Night Eats the World, Rammbock opens with a dude going to his ex’s apartment to transfer some stuff, and also maybe sorta to rekindle their relationship. She’s not there, but two plumbers are; when a zombie outbreak overtakes the neighborhood, ex-boyfriend and the plumber’s apprentice ride out the zombie apocalypse in the apartment. With other monsters, writers can get a little schematic. This is especially true with vampires. You often see complex list of rules about what a vampire can and cannot do, and then, of course, inevitably how to break those rules. (The most recent Dracula limited series, first from the BBC and now on Netflix, exemplifies this sort of thing.)

Zombies, though, they don’t tend to go this way. The rules are simple: a person dies, they reanimate, then they hunger for the flesh of the living. Oh, I suppose there are some other conditions that may or may not come to bear: does killing the brain kill the zombie? are we all infected or is it contagious through a bite? fast or slow? But these are more set-dressing than, like, necessary for the storytelling. Rammbock‘s zombies, by contrast, are photosensitive, a detail it takes the principles some time to work out. Then when they do, they work towards exploiting this detail in order to save their own lives. Rammock is, again, maybe not the most exciting zombie film ever made, but the location, relationships, and the weird taxonomy of zombies make it worthwhile.

Spain:

[•REC]

This scrappy Spanish found footage horror film was so successful it spawned a movie series and an English language remake (which was retitled as Quarantine.) (The Spanish series has diminishing returns: the second relocates to an airport, which is fine, while the third goes eschatological in a way I did not appreciate at all. Oh, and there’s apparently a fourth I never saw, REC 3: Apocalypse which is by the filmmaker of the first two, but not the third, which is promising. ) REC follows a Bridget Jonesy reporter on a ridealong with some firefighters. They head out to a call in an old apartment building with six or eight units. One of the residents has gone murderously feral; they contain her, but not before one of their number is bit; when they panic-run to the exit it turns out the building’s on some sort of horrible lockdown.

The film ends up being a locked room horror show as various people get infected and infect others. There’s also apparently a plot where it turns out the authorities are evil, but who even cares. It’s obvious they were evil when they locked an entire apartment in to die. Again, this film had certain meanings back when I watched it whenever, but in the middle of a global pandemic, things read a little differently. The willingness to sacrifice first responders stands out, as does the bickering in the doomed apartment building about the motives of those that locked them in. That the outbreak is legible, with known origins and therefore, potentially, a cure is another fun aspect of fiction. It turns out that real life is much more bleak, which is saying something, given the end of REC.

Japan:

One Cut of the Dead

Frankly, One Cut of the Dead is the best godamn zombedy produced since Shaun of the Dead, and in some ways it exceeds Edgar Wright’s most excellent film. Filmed on a budget of $25,000 (JFC), the film relies on what could be a gimmick, but ends up being just a beautifully written script. The first half hour or so of the movie is one continuous take, telling the story of a low budget zombie movie lorded over by a tyrannical director which is then attacked by real zombies. (Not dissimilar in setup to Romero’s 5th outing into his formative zombieverse, Diary of the Dead, but that reads pretty Boomer-y these days.) After this impressive feat of film-making is a crazy bananas twist that had me all-capsing to my viewing partner, the indomitable sj, for at least the next half hour. It’s just … the whole thing is so well done it makes me tear up a little.

The trouble with talking about One Cut of the Dead is the several spoilers in serial that happen in the second act. All that aside, I can say that the shifts in tone in One Cut are masterful, running from comedy to terror and back again without even a blink.

We go a-viking: The Long Ships

Original review, posted April 2012

So, this isn’t entirely a drunk book review, but it’s also not entirely sober. As such, I know I’m not going to bother checking my references and making sure I’m not making stuff up, so fair warning.

Which is the thing. The Long Ships was written by a Swede (or possibly a Norwegian or a Dane) in the run-up to the second world war, drawing on his fiercely academic background in Old German/English/Norse semi-oral histories, stuff like the Icelandic Sagas, the Nibelungenlied, Beowulf, etc. Unlike certain crunchy Oxford dons I can think of, Bengtsson has a super sly sense of humor. He’s not trying to build an Anglo-Saxon mythology that works with his Christian ret-con. Seriously, why I am being so coy here? What I am trying to say is that Bengtsson and J.R.R. Tolkien were both writing at the same time, using the same source materials as their guide posts, but they came home with some seriously different narratives. That Bengtsson is in the dust bin of history, and Tolkien is wherever he is with his name recognition, I can’t say what that means. Something.

Whatever, moving on.

So, The Long Ships? I’m again not going to look this up, but I think that Michael Chabon in the introduction called this the “last Victorian novel”. Which is, like, super overheated blurb-fodder, but I get what he was at. There’s something un-psychological un-Modern here. These characters are all recognizably human, and they certainly have their thoughts and motivations, but there’s something charmingly without hand-wringing and deeper purpose in terms of The Psyche here. People are what they are, and things happen, and sometimes these things have anything to do with each other, but mostly they don’t. Plot isn’t discovery; it’s shit that happens.

Which, can we talk about narrator for a minute? I’ve been reading myself some Anglo-Saxon poetry, and I loves how snide they are. The Beowulf narrator can’t help, when he’s introducing some dude he hates, but warn us that the dude he hates is going to slip on banana peels in the third act and die or worse. He’s gonna get it! But watch him be a jackass now so you can savor it when the banana peels rear up under his heels. The narrator here isn’t as entirely intrusive, but he’s going to let you know that while Orm is rowing as a galley slave, that Orm will get out of it in the end, and it’ll make a good story, don’t worry. And it totally does. This is all good story.

So, wait, plot? Orm Somethingson leaves his home to go a-viking, gets screwed almost immediately, and in a series of reversals of fortune, ends up as a soldier in Muslim Spain. They he bails and heads back to England/Ireland/Scandinavia, where some stuff happens, mostly involving the Christianization of that area. The first section – and, apparently, this was published as two discrete novels back in the day – is much more rip-roaring, trotting all over Europe, meeting up with Jews and Muslims and Christians, holding turn of the first millennium convos about how god(s) work, getting laid, and plundering booty. Which, fuck yeah. It’s like what Skye O’Malley would have been if that didn’t suck rocks. And donkey balls. Almost literally.

Book two, or the second section, this was tougher sledding for me. Orm converts to Christianity, and although his conversion is super funny – he’s part of a Viking mission that has England by the short and curlies, and the English king is this total cowardly dork, and I’m not going into it more, because, boring for you – the parts where Orm bolts down in Scandowhereveria and has some babies and fights with his neighbors….zzzzz. Or not entirely zzzzz, but it lacks that broad-stroke of the first section, and as an early second millennium reader, I give Christian converts the stink eye. There’s no fanatic like a convert, as my mother likes to say, though that’s not exactly what happens here. Orm isn’t above beating the holy spirit into folk, which is funny, and his theology, when it runs at odds with the priests’, is sweetly pragmatic. But then we go a-viking again! Boo-yah! There’s not lot of danger here, in the sense that the narrator is warning you that everything will turn out all right, and then it does! Squee! Go Orm and all of his descendants!

And now, off topic. Again, according to sources I am not looking up, Bengtsson refused to let the Nazis publish his books under their occupation (must have been Sweden?) and use them as propaganda. Which, interestingly, nor did Tolkien allow the Allies to use Middle Earth as a propaganda tool.* (Which I’m also not looking up, but I’m fairly sure it’s true. Jesus, can you imagine how effective propaganda based on his sort of Teutonic Christianity would have been? Shudder.) I mean, we probably would have forgiven Tolkien in hindsight, should he engage in propaganda for the winning (and non-Nazi, in all fairness) side, but, interestingly, I think Bengtsson’s work is less suited to propaganda. Orm is living in a much more pluralistic society than Middle Earth, regardless of the varying versions of Western Christian societies that peopled that realm: Rohan, Gondor, The Shire. (Which can be read as Anglo-Saxons, Renaissance Italians, and the bucolic English.) Orm’s latent paganism is all over everything he does, even when embraces the True Faith and all that. Orm abides. Dude.

An interesting book, and I’m glad I’ve read it, although I’m not going to say it wasn’t trying at times. I’m still not through worrying the idea that this is a Victorian novel, because I’m pretty sure that’s wrong, but I’m not sure how to articulate why. Certainly this is no psychological journey, Freud’s grubby hand-prints all over the action and its meaning. But it’s not sentimental either, which I think you can see heaped in huge flowering beds all over (some) Victorian novels. There’s no moral to the story. No coda. No gloss. So I think I’m going to call bullshit on this being a Victorian novel. I can’t say this is Modernist or post-Modernist or anything else though, which makes it incredibly cool and weird.

Also, there’s a lot of beards. If you like beards, this is for you. Beardo.

*Update, Jan 2015:

Not long after I wrote this, I realized my little tossed off comment about Tolkien and WWII propaganda cannot be true: Lord of the Rings wasn’t published into the early 1950s, though of course it was written during the War, and most certainly drew upon JRRT’s experiences in the previous world war. (What exactly that influence is, you may quibble amongst yourselves. For sure the Dead Marshes, at the very least, are a WWI reference, as is much of the relationship between Sam and Frodo.)

In the interest of fact-checking previous drunken me’s assertions — I know I must have read somewhere about how Tolkien managed the political application of his Middle Earth, as far as he was able — I googled “Tolkien propaganda”. I got a lot of stuff in German and some other blather. Not looking too closely, I clicked on a link called “Tolkien, his Dwarves, and the Jews”. I’m reading through, getting more and more worried by the antisemitic tone of this thing, when I realize I’m on a white supremacist message board. Ye gads! What the actual fuck!? Get me out of here!!!1!

After nuking my browser and clearing any and all fucking cookies, I can’t quote exactly what these shitheels were saying, but suffice it to say it’s not good. They quote Tolkien saying that the dwarves were modeled after Jews, which surprises the white supremacist. Don’t the dwarves have honor and stuff? And Jews obviously do not, etc, gag. If indeed Tolkien modeled dwarves after Jews — which I don’t find hard to believe, shitty source notwithstanding — then there are a number of troubling implications of this equation.

I’ll try not to get too nerdy here, but let’s just realize how far down the nerd hole we are already. So, basically, Middle Earth is a religious cosmology — we won’t say allegory — in which the main deity, Eru Ilúvatar, creates the races of Elves and Men. The race of Dwarves is created by a demi-god — a sort of Hephaestian character — called Aulë. As such, they’re lesser order beings, imperfect copies of perfect creations. Like Ents or Orcs, who were also created by beings other than Eru Ilúvatar, they struggle with sterility and a bent towards beastliness, tending back to the non-sentient animism of their origin. Eru Ilúvatar eventually gives the Dwarves sapience, but this doesn’t really overturn their origins. Which is why the equation of Dwarves with the Jews is…let’s just use the bullshit term “problematic”.

I’m losing my point here, and mostly I’m just freaking out at Tolkien being used by violent racists to bolster their cause. Oh, I know what my point was! It’s one of those old hoary chestnuts of criticism that “you can’t judge literature from the past with the sensibilities of the present argle bargle”. To which I say, bullshit. I can do anything I want, motherfucker, and if what I want to do is decide that Tolkien’s “races” are treading dangerously close to racial biological determinism and its attendant social violence, then I can do that in the privacy of my own home. And I mos def have both the textual and extra-textual evidence to back that up. It’s not like I’m making shit up; even the white supremacists see it.

But! This determination is a slightly different thing than using Tolkien — or any other writer — and his (admittedly historically determined) blindspots and straight up prejudices as propaganda in perpetuating such diseased worldviews. There is a lot I love about Tolkien, from his shitty poetry to his linguistic ardor for English and a half a dozen other dead languages, but this 1) doesn’t make me blind to his failings and 2) doesn’t mean if I love the baby I need to drink the bathwater. After the LotR movies came out, a bunch of the actors, of myriad political inclinations, came out with various “Tolkien said this or that about politics” statements. To which I say, who gives a shit? I don’t base my political opinions on what my racist great-uncle said about the War, or Jews, or whatever — and dude said plenty, I assure you, and it was all awful — and I’m not going to base my opinions on someone else’s great-uncle either, even if I love his poetry. The personal is the political, sure, but not the other way around.

The Rise & Fall of the Scandamerican Domestic

I picked up David Merkner’s debut collection, The Rise & Fall of the Scandamerican Domestic, solely on the basis of the title. “Hey,” I said to myself, “I’m a Scandamerican domestic!” I mean, whatever that’s supposed to mean, because, as far as I’m aware, Scandamerican isn’t a recognized word, and using domestic as a noun is a little off-label. Or you can use the term domestic as a noun, to mean a servant (domestic staff) or a fight between family members (a domestic dispute), but it rings weird in the title, like a stutter or something bitten off. As it turns off, my lame close reading of the title is a pretty accurate encapsulation of the book for me, this uncoined yet immediately recognizable term rubbing up against the non-normative and ambiguous servitude and dispute of Midwestern domestic life. The whole thing was alarmingly close to home and disturbingly kinked, and I felt a little like, Jesus, man, shut the fuck up about our business in front of guests. Uff da.

I didn’t love this collection, but probably more because I felt an itchy, too tight familiarity with it than anything, a sweater washed and then blocked wrong. The stories themselves have an almost prosaic surrealism, where shit that could never happens happens not because the events violate the rules of physics, necessarily, but because they violate other less conspicuous but nevertheless ironclad rules of social reality. I almost don’t want to give examples because each time I tried to with my husband, I turned into this “and then, and then, and then” idiot, laying out inexplicably related events, then back-tracking and trying to tie up the connectives which just made it worse. A man tries to make out with his mother’s pot-bellied pig after murdering her brother by accident. A couple tries to paint their house which ends up being this slippery metaphor. A man slits a dog’s throat at a funeral. Which is all somehow funny in ways that I can’t explain, don’t really think is funny, but am nevertheless laughing at. And I’m not laughing haha, I’m laughing fucked. I’m laughing grief. This may be more me than it.

I thought a fair amount of the term “magical realism” while I read, wondering, as I do, about genre and what a mess it is. I’ve gotten my back up about the use of the term magical realism in the past, because I’m a nerd, and I end up thinking, bitch, that’s just a nationalist fantasy novel. And all fantasy novels are nationalism fantasy novels, from Twilight’s ~~Volturi~~ Catholic panic down to there won’t be a Shire, Pippin. The term seems too specific to a certain era of South American fiction, and used only on North American writers when they don’t want to get genre cooties on their weirdness. But Scandamericans would be magical realism if the Midwest had such a thing. (The Midwest doesn’t have old money or history either, being one of the problems of the Midwest, but the kind of problem that eliminates some and creates others.) It’s not fantasy fantasy, but more weirdly personal; a private life of the domestic wars.

Maybe the less coherent observation I’m groping for is that Scandamericans runs its harsh (sur)realisms in collection because we can’t even bring ourselves to novel length. We have to run at our fantastic, coded history in collected short fictions because we aren’t even a nation, but an interstitial accident of geography and inertia. We’re not even the conquest of useless but something worse and therefore more comic. We shouldn’t even be here, and what we have to cling to, as a people, is our anecdotal longevity in a place not actually made for people. (My bitterness with the Midwest right now may have more to do with the punishing cold I’ve been stuck in for the last forever, no end in sight.) I thought of Winesburg, Ohio a fair amount, and the ways MFA programs in the Midwest push the shit out of that (or did in the Jurassic Age when I was in college), and the ways the stories in Scandamericans triangulated a specific kind of person – a dude, maybe kids, a wife, a house in the Madison suburbs – instead of a place.

And speaking of MFAs, this collection has the the shine of the MFA all over it, that rock tumbler which grits prose in a way that often embeds itself in my nails. This is good MFA writing to me though, the kind that moves from rough to shine, and the endings positively fucking gleam. I don’t know why I’m being a bitch about craft – but I am, don’t mistake me – because this is some well written stuff, the kind of thing that winds and then strangles. It’s good. For whatever reason (and this phrase means “for reasons I know but won’t divulge”) the subject of Freud’s concept of the narcissism of small differences kept coming up this holiday season in my conversations. Talking to my brother and his newly minted fiance and casually calling him a hipster and watching that tightening in his eyes. I don’t care about hipsterism, because I’m the wrong gender, age, and BMI to give a shit about that. But he’s not, and I used the term, and it probably bugged him. Sorry. That was this book, Merkner to me.

The Rise & Fall of the Scandamerican Domestic hit me in the narcissism of small differences, in that place of close but not quite close enough. I can see see his truth because I hate it like I hate all things close to my truth but just across the kitchen table. I kind of hate this book because I get it. I kind of love it for the same reason. Not all of the short stories work, but the ones that hit me hit me in the face. The one about the couple painting their house hit me right in my profession as a house painter, all the notes I leave on a kitchen table over the course of a painting project turned over and written back. I feel priest-like in the things I see in my clients’ homes – in the sense that I see them but can’t relate them because it would be a violation – but I see them. I see them and keep silent. I don’t snoop, but I don’t have to. We wear it all on our sleeves but then tuck them hard into pockets. The connectives of course are surreal.

I got the violence in the story of the funeral, my cousin and I holding onto the back of one another’s necks, forehead to forehead, while he laid the most immaculate guilt trip on me like fine fucking china. He wanted me to go to the second funeral, the one to be attended by people I despise. I resisted and drove home, and everyone in the car fell asleep. I watched the landscape go past like the only person who could, and later got the story of it, the second funeral. I would have murdered at that event, slit the throat of a dog in the back bedroom, and then I would have passed it off just the like the protagonist of the short story, the way you can pass off the murder of a dog in the back bedroom. You can pass off anything in the right social situation, stand like a mask and joke. It’s not funny haha but funny apocalypse. It’s funny Revelations according to Hans.

And although it looks like I’m dogging on this collection, I’m really not. There’s a story about a man who goes with his daughter down into a mine in “the only mountain in Wisconsin” – mountains being something the Midwest doesn’t have either – and sees a vision of her as an adult. Sounds lame when I relate it, but that last image, the daughter waving silently from a rock like a siren, and the daughter waving back just scrambled me. The candlelight vigil in another, all of the people turning away from the woman in whose name they are there. I can relate my irritations easier than I can my affections, because the affections are so fragile and inexplicable. The old saw about familiarity and contempt.

Fuck, I don’t know. The best and most true thing I can say about this collection is that it hit me where I live in ways that I usually only find in sex writing by the French or narratives of the zombie apocalypse. (Make with that what you will.) I’d like to see Merkner do something long form, because he fairly kicks the shit out of the short form (except for the microfictions, but then me and microfiction are not friends, so it might just be me.) It was kinda perfect to read a short story or two in the middle of the holiday shitshow, parceling out this deranged comedy of the domestics after living through the same. Well done, me. Perfect timing.

Main Street: 100 Year Old Satire Still Makes Me Die

Wow. Main Streetkind of kicked the tar out of me, something that I did not expect even halfway through my read. I’ve been sputtering and wailing around the house since I finished a couple of days ago, trying to get my thoughts in order. I should have seen this coming for a thousand reasons, but probably the biggest reason is that this is a satire about my own people, and it’s gotten me where I live. It’s also gotten me, which is maybe the worst thing about it. Good satire doesn’t play nice. It eats babies and butchers the sacred cows, and this is some of the best satire I’ve ever had the discomfort to read.

The narrative starts cheerfully, with Carol, or protagonist, marrying a small town doctor, a one Mr. Kennicott, and stumbling from St Paul into the inbred, gossipy community of Gopher Prairie, Minnesota. Lewis is quick-witted and dry, and every page seems to have some sort of wry observation about America and its people, about the sexes, about education. On Mrs. Bogart, the most virulent of the town gossips:

She was a widow, and a Prominent Baptist, and a Good Influence. She had so painfully reared three sons to be Christian gentlemen that one of them had become an Omaha bartender, one a professor of Greek, and one, Cyrus N. Bogart, a boy of fourteen who was still at home, the most brazen member of the toughest gang in Boytown.

Mrs. Bogart was not the acid type of Good Influence. She was the soft, fat, sighing, indigestive, clinging, melancholy, depressingly hopeful kind. There are in any chicken yard a number of old hens who resemble Mrs. Bogart, and when they are served at Sunday noon dinner, as fricasseed chicken with thick dumplings, they keep up the resemblance.

Ha! I mean, calling gossips hens is maybe nothing new, but the way he takes it to this extreme conclusion, the capital letters – this is all funny to me. The beginning is thickly adjectival; some sections only long descriptions of place with bending semi-colons between them; a sort of Epic catalog of the armaments of small town. I laughed along with it, because he’s funny, just objectively, but then also because I was substituting the name Sauk Centre – where Lewis is from – for Gopher Prairie, pretending that what happens in Gopher Prairie stays in Gopher Prairie, willfully ignoring that this is not some grudge-match between Lewis and his home town, but a smarter, more encompassing indictment of whatever was passing for the “real America” of his day.

I’m going to tell several hundred off-topic stories here, so gird your loins, folks. I hale from the proud state of Minnesota, and my folks were heavy into Sinclair Lewis when I was growing up. So much so that we visited Sauk Centre, Minnesota multiple times as a child, because Sauk Centre was Lewis’s hometown and the model for the satirical town of Gopher Prairie in Main Street. I’ve gone to his grave, walked through his house, and know all kinds of random trivia about him. Mum has the bed he owned when he lived in Duluth. (Duluth, MN being another town he took apart in his novel Babbitt. Also, hey, did you know that the name babbitt – from the eponymous character of Lewis’s book – became a common noun, meaning a self-satisfied middle-class materialist? Or babbittry, which may be an even better word, which refers to this kind of person’s actions? You didn’t? Philistine.) During the last half of my read, I was staying with my Grandma, who came from a town much like Gopher Prairie. “Oh, you’re reading that?” she said, with one of her enigmatic laughs. “I re-read Babbitt last year.” I asked her what she thought. “Yep, I knew a lot of people like him,” was her only reply. I tried to get more out of her, but she just shook her head. I don’t know if this kind of terseness means anything to other people, but coming from Grandma, it spoke volumes to me.

All this Lewis mania happened when I was very young though, and part of the fun of reading this book has been pestering my folks for stories about Lewis and Sauk Centre and all the weird stuff they know about him, and correcting my fuzzy drifting memories of that time. I remember standing in the museum – or maybe the hotel? – looking at the drawings local school children had done of his books, and feeling weird about the pictures for Arrowsmith that depicted an anvil and some arrows. That can’t be right. It amuses the crap out of me that these kids lauded the Famous Native Son of Sauk Centre, Minnesota with absolute ignorance. I think Lewis would be pleased, in a perverse way. When his brother went to bury the urn containing Red’s remains – Lewis was called Red by his friends – in an act of great satire if it were done by a character – his brother balked at burying the urn itself. Maybe you could use it again or something? Too nice to bury, anyhow. It was a calm, windless day, the kind of deep cold, high pressure system that sits still and echoing over Minnesota in the dead of winter. His brother decided to dump the ashes, and at the moment he did, the wind picked up out of nowhere and scattered Red all over the graveyard. It got so cold that night, that many of the windows up and down Main Street cracked. The Palmer House, where Lewis worked as a youth, is haunted, or so they say – though not by Lewis – and when I stayed there as a kid, it sparkled with drama and danger.

I have no idea why I’m telling all these Middlewestern Gothic tales, because Main Street is not Gothic, but parts of it were scary as shit, for me. Published 90 years ago, this satire nails the ever-loving crap out of so much of American culture, culture that has remained disturbingly similar for nearly 100 years. So, yeah, the parts about semi-English speaking Scandinavian/German rurals maybe would only work for someone whose ancestors were exactly that, but Lewis’s portrait of emerging (sub)urban plutocrats and their petty, depressing babbittry (see what I did there?) was both gleefully accurate and, well, horrifyingly accurate. The satire is also deft because it’s aimed in two directions: at his main character, a somewhat flighty reform-minded housewife, and at the town she so ineffectually seeks to reform.

Much of this book reminds me of Austen, but I don’t want to say that too loudly lest people misunderstand. Especially at the beginning, it is very domestic, and centers on the social lives of a very large cast of characters. Carol is an Emma Woodhouse of sorts, though more a middle-class version, if such a thing is possible (and I think it is.) There’s lots of social burlesque and cringe-inducing missteps both by Carol, and by everyone around her. Carol’s also not far from Catherine Moreland from Northanger Abbey (maybe my jump to Gothic wasn’t so far off) in that she says incredibly revolutionary things, really critical things, and no one much pays her mind because she’s just some girl. Lewis also has an incredibly touching sensitivity to women’s experience, one that I didn’t expect from a male writer of this era. An argument with her husband:

“Let me tell you a fable. Imagine a cavewoman complaining to her mate. She doesn’t like one single thing; she hates the damp cave, the rats running over her bare legs, the stiff, skin garments, the eating of half-raw meat, her husband’s bushy face, the constant battle, and the worship of spirits who will hoodoo her unless she gives the priests her best claw necklace. Her man protests, ‘But it can’t all be wrong!’ and he thinks he has reduced her to absurdity. Now you assume that a world that produces a Percy Breshnahan [a famous Son of Gopher Prairie] and a Velvet Motor Company must be civilized. I suggest Mrs. Bogart as a test. And we’ll continue in barbarism as people as nearly intelligent as you continue to defend things as they are because they are.”

“You’re a fair spieler, child. But, by golly, I’d like to see you try to design a new manifold, or run a factory and keep a lot of your fellow reds from Czech-slovenski-magyar-godknowswheria on the job! You’d drop your theories so darn quick! I’m not any defender of things as they are. Sure. They’re rotten. Only I’m sensible.”

He preached his gospel: love of outdoors, Playing the Game, loyalty to friends. She had a neophyte’s shock of discover that, outside of tracts, conservatives do not tremble and find no answers when an iconoclast turns on them, but retort with agility and confusing statistics.

This all goes down mid-book, and I was still rah-rah-ing and sighing along with Carol, even as Lewis skewered her as the parlor radical, the armchair revolutionary, comfortable, beholden to the system, part of the system, inextricable, hypocritical. Ha ha! Look at Carol make an ass of herself in front of a bunch of asses! Ha ha! Carol is treated badly, shunned, brought into line by the gossiping cruelty, but she’s insulated and made ineffectual by her money, her status. She’s the doctor’s wife. Her ideas are eccentricities and not threats.

Then the hammer drops. There are two episodes in the middle half of the book – spoilers ahead, although I will try to be as non-specific as possible – that clove me in two, and dealt with how terrible this bourgeois decorum can be. One was about the town Socialist, a personable logger-tinkerer, who blows into and out of town through the first part of the book. (I know this guy; I work with him. Like Carol, I’ve always been fond of how outside society my colleague is, how modular his life. He can pick up and go, while the rest of us are bolted down.) The plutocrats like scoring points off of The Red Swede, but he’s cheerfully impervious. But then he settles down into a really wonderful marriage to Carol’s maid, and Carol defies the town in continuing to associate with the maid, and him, even though she mostly does it on the sly. Then, oh God….I kind of don’t want to talk about it. I’ll just say that however bad it gets, it can get logarithmically worse when people demand obeisances for kindnesses that should be a requirement if you want to call yourself human. And then punish you for calling them out. God help my friend if he ever has anything to lose.

Then a girl goes to a dance with Cy Bogart, Widow Bogart’s son, narrowly avoids being raped, and is run out of town for her trouble. Cy brags and blames, and gets in good with the corner-chatting men of the town. Widow Bogart goes screaming to the school board. Carol tries her hardest to help the girl, and everyone knows that Widow Bogart is a sanctimonious bitch, and that Cy is trouble, but it doesn’t matter. The girl is ruined. She leaves under a cloud.

Her letter to Carol, a little later:

…& of course my family did not really believe the story but as they were I must have done something wrong they just lectured me generally, in fact jawed me till I have gone to live at a boarding house. The teachers’ agencies must know the story, man at one almost slammed the door in my face when I went to ask about a job, & at another the woman in charge was beastly. Don’t know what I will do. Don’t seem to feel very well. May marry a fellow that’s in love with me but he’s so stupid that he makes me scream.”

It’s so awful it makes me die. It’s more awful because I identify with Carol, possibly in a way that Lewis never intended. I’m a Midwestern housewife type. I am comfortably Liberal, while languishing in a life that is incredibly conservative: marriage, monogamy, children, mortgage, &c &c. It’s real nice of me to espouse my little ideas over coffeecake, but it doesn’t actually get anything done, and it sure doesn’t undo all the damage done by the Widow Bogarts of the world, and their sons. Lewis’s portrait of Carol is affectionate, more affectionate than his portrait of the town of Gopher Prairie, but it’s still like hugging one of those wire mommies in that horrible experiment.

I don’t know that I can go on with this review, because I don’t want to fall into a bunch of self-pity and hand-wringing. Lewis has already satirized that, so it would be mawkish and redundant. Satire is depressing, when it’s done well, because it’s true. It’s even more depressing when a satire from a century ago can feel fresh and current. I’m definitely going to read more Lewis, but not until I heal up a bit.

As side note: Sinclair Lewis, people, not Upton Sinclair. Upton Sinclair wrote The Jungle, a socialist indictment of the treatment of labor in America, which has been somewhat mistakenly remembered as a gross-out about meat packing*; Sinclair Lewis was a satirist who was the first American to win the Nobel Prize for Literature. I’ve had to make this distinction too many times when I told people I was reading this book.

*I mean, it is a gross out about meat-packing, but I think Upton was trying more to galvanize people about the treatment of people.