Tag: books

The Wizard’s Promise by Cassandra Rose Clarke

It kills me to say this, but The Wizard’s Promise didn’t work for me. I think I can see what the book was attempting to do, but I don’t think it did it. The reason I’m so sad I didn’t love this is that Cassandra Rose Clarke absolutely slayed me with The Mad Scientist’s Daughter, killed me so hard I was willing to follow her into young adult fantasy with her duology The Assassin’s Curse/The Pirate’s Wish. I was a rut of being sick of young adult fantasy — all the Chosen Ones and half-assed magical systems, the violet eyes and virgins. The Assassin’s Curse duology ended up rewarding my lovesick mooning over Clarke. While it wasn’t on the gut-punching level of Mad Scientist’s Daughter, the story was active and emotional, with just enough subversion of the tropes to feel fresh in a sometimes moldering genre.

The Wizard’s Promise takes place in the same world as the Assassin’s Curse books do, a generation later, long enough for the exploits of the pirate Ananna to become something between tall tales and legend. Our main character here is even named after Ananna — her mother knew her, apparently — but she goes by Hanna. She lives on one of the northern islands, a spare, insular place. She’s at that itchy cusp of adulthood, still living with the ‘rents, but struggling with what she wants to do with her life in that gauzy, dreamy way of the inexperienced. Maybe I’ll become a famous witch after stunning everyone at school!

Hanna is apprenticing with a fisherman of no particular talent named Kolur at the behest of her mom, and the action of the novel begins when what should be an everyday fishing expedition goes pear-shaped. Hanna and Kolur end up well off course, with a mysterious old friend of Kolur’s — a witch of some talent — along for the ride. Kolur and his witch friend are just obnoxiously withholding about what is going on, and Hanna responds with an equally obnoxious foot-stomping petulance. In the dreary sailing that occurs after they find themselves in the wrong place on the map, Hanna meets a not-quite-human boy named Isolfr, who also is withholding about the shape of things, but less so than the grown ups.

Here is where I want to talk about magic. I generally like the magic in this world, which is both concrete and not over-explained. Hanna’s magical talent is wind-magic, the sort of useful calling up the of the elements for fishermen and boats. There’s also earth-magic — something Hanna’s mother practices — and sea-magic. The rules of magic aren’t gotten into too closely, which I can appreciate, because practice and theory are well two different things. I had a blacksmith once explain to me that “all the goodness” goes out of iron when its been reheated too often and too hotly, and it doesn’t make me a good blacksmith to be able to explain what he means on a molecular level (which I can, but it requires some hand waving and a napkin to write on.)

That doesn’t mean that some of the spell-casting didn’t frustrate me. Isolfr — the not-quite-human boy — casts a spell on Hanna such that the fisherman and the witch she shares a boat with cannot hear anything Hanna says about the boy. This isn’t magic so much as narrative convenience, a football-hiding maneuver that serves the storyteller more than the story. And even though we get some reveals about the purposes of the boy and the fisherman, I couldn’t even tell you why that information was withheld from the reader or from Hanna. Much of the action is inert, without discernible reason for most of the novel. I felt like luggage, carried along by hands unattached to a more vital body of purpose, and this is no place to be as a reader. Magic shouldn’t be convenient; it should be structural.

Which is not to say there weren’t things I enjoyed about The Wizard’s Promise. The couple who befriends Hanna when she’s stuck on some godforsaken rock in the north are wonderfully domestic, with the kind of easy, kindly relationship that’s both kinda obtuse and profoundly enviable. I like how Hanna is forced at a point to work diligently towards amassing enough money to buy her way home, and how that really just doesn’t work, or doesn’t work quickly. She eyes a small jar full of coinage, which fills slowly and then drops as she has to do things like make rent and eat. Not many young adult books — fantastic or not — address the hard economic realities of life at a grinding job that doesn’t reward one’s talents or youth. Like one gets at this age.

It’s possible my trouble is the split-novel format — The Wizard’s Promise is the first of another duology — and maybe this pair is to be back-loaded with all the action and promise not exactly come to fruition in the first. Not even come to the middle, really. I can’t really assess this novel on books that haven’t been written yet (much as I’d like to, loving Clarke the way I do) so I have to say this is not a success as a standalone novel. I’m on the hook for the next, because my heart, but that’s more nostalgia than sensibility. And y’all really should read The Mad Scientist’s Daughter, kthxbai.

 

I received an ARC through NetGalley and Strange Chemistry, and thank them kindly.

Sharcano!!!1!

There’s this dismissive, tautological quote that goes something like, “People who like this sort of thing will find this the sort of thing they like.” I can’t find a reputable source for this line — it’s been attributed to Mark Twain, Abraham Lincoln, or a tumblr image of some cats — but it has the kind of epigrammatic pithiness that makes for great ad copy. I think you can fairly easily tell by the title whether you are in the audience of this book. Sharcano = shark + volcano!!!1! You know if this math is for you.

I guess I expected Sharcano to be a nod to pulp horror like anything by Guy N Smith, a journeyman writer who churned out well over a hundred novels, and, given that he isn’t dead yet, likely is churning them out still. (His wiki page notes that he is an “active pro-smoking campaigner”, which I find inordinately charming. I even smoke, and I know that shit ain’t good for anyone, mostly because I smoke.) I was expecting shoddy continuity, uproarious misogyny, and lurid bloodbath, the kind of thing banged out in two non-consecutive weekends with a lot of uppers in the mix.

But no, Sharcano is more a nod to big budget action disaster films, movies like Armageddon and The Day After Tomorrow. This is not a criticism; more an observation. There’s an estranged couple — one of whom is a massive television personality slash dillhole — so you’ve got your remarriage plot; a couple of moppets of various ethnicity; a priest at the focus of a shady Vatican conspiracy; some bubbas; sasquatch &c. There’s a lot of destruction that would work well better on the screen with Michael Bay-ish craptacular jump cuts, but then there’s a wry comedy aspect that would never be evident in a Michael Bay film.

What Sharcano reminds me most of is The Core, which is a silly disaster film complete with unobtainium and Stanley Tucci. The scene where Tucci is in a train car thing, about to die, bloviating into a tape recorder in his showboat way, and then starts laughing at the ridiculousness of such an act is one of my legit favorites. Almost as good as Samuel L in Deep Blue Sea starting into a monologue about how we’re not going to fight anymore! right before the supershark fucking drops the knowledge. Drop the knowledge, sharks made out of lava. We’ll catch up.

Here’s the thing: I’m not sure this book needs to be 400+ pages, and I’m seriously unsure that it should be the first in a trilogy. Sharcano is well better than it should be, a quality which gives with one hand and takes with another. Pulp’s got a certain energy to it, a rough, unedited pulse. Sharcano has a more arms-reach approach to the material, a half-ironic tone that tries to split the difference between straight up satire and gleeful homage. That’s a hard line to walk, very hard, and that Sharcano manages it at all should be seen as a win. If you like this sort of thing, as the cats of tumblr tell me, then this is the sort of thing you’ll like.

 

I received my copy from Netgalley. Thanks, dudes.

Nebula Nominees: We Are All Completely Beside Ourselves by Karen Joy Fowler

When I was in my first (and, come to think, only) year in the dorms, I had a friend down the hall who was Swiss. By which I mean she had Swiss parents, and her first language was French; she was otherwise American. She was raised, however, in a small Wisconsin town, if not from birth, then from a very young age. She liked to tell this story about her parents taking her to the zoo as a young girl, her French still the primary language, and shouting at the seals, “Le phoque! Le phoque!” You can imagine the consternation of small town Wisconsin when confronted by a girl yelling, “Le fuck!” which is more or less what the French word for seal sounds like.

We didn’t have much in the way of video stores on campus — this is back in the dark ages, before Netflix, or even DVDs, come to think of it — so we were mostly stuck with the selection at the dorm kiosk (which I ran on Saturday and Thursday; a story for another time) which was not good, or the selections at the local library. The library mostly had art films, documentaries about The War, and early cinema weirdness. I can thank the lack of selection for my actually sitting down and watching stuff like Vampyr, Metropolis, and Battleship Potemkin. My Swiss friend went in for the French art house stuff at the libs, as she actually spoke the language, and knew more than your average bear about French cinema, her upbringing being what it was.

So I watched a series of French films with her — a trilogy, I think, but my memory is a little hazy. They were in an essay style popular (I think) in the 70s. French people chatted and had upheavals of the lunching sort, interspersed with cards that informed the viewer of the philosophical import of the scene. She and I also had a thing where we’d go in together on a bottle of liquor we’d never tried before, purchased by another friend’s upperclass boyfriend with a car and a sense of capitalist opportunity: Everclear (not legal in my home state), stomach-churning gin (which put me off a fine alcohol for years), or, memorably, peach schnapps (I didn’t drink in high school, so I hadn’t learned this lesson yet).

I have this vision, no doubt manufactured, of us sitting in her room sipping a tragedy in the making, watching French films and arguing. I remember quite vividly when she was yelling about some character in the essay film — you know, the Italian woman? — and I was like, what are you even talking about, Italian woman? She blinked at me with the slow blink of the inebriated. You know, the woman with the Italian accent? The one having an affair with the other guy, the husband? Okay, I said, I know who you mean now, but how did you know she was Italian? Couldn’t you hear it in her accent? She asked. No, I most decidedly could not.

She had an entrance into the nuances of the film that I simply did not, raised as I was with English only. I couldn’t hear the accent because all I heard was foreignness, concentrating hard on the philosophical placards and the translations over the lilt of another tongue in a character’s speech. Since then, I’ve caught this lilt in a couple of movie characters in languages foreign to me — Ah Ping in In the Mood for Love, who sounds so different from everyone else, for example — but I couldn’t tell you what this means, exactly. Someone who spoke Chinese — or maybe more importantly, was raised with an understanding of Chinese cultural politics — could explain the inexact, interpersonal meaning to me, but some of it would end up being “le phoque” shouted at seals.

Which is my long-winded, digressive way of getting at We Are All Completely Beside Ourselves. There’s something about the narrator that’s off, which is not to say I didn’t completely love her wry, understated anecdotal style, or her loopy, sedimentary storytelling style. Her awkwardness and self-doubt were disarming and lovable. the way a story told by the gawky and odd can take the shine of comedy in retrospect. Comedy happens to other people, as they say; it’s tragedy when it happens to you. She knows how to split the difference between bathos and rhetoric like a champ. She takes the little philosophical placards, and doesn’t so much shred them as fold them into accented shapes that you can’t access through language.

Good gravy, what the holy hell am I on about? The tough thing about We Are All Completely Beside Ourselves is a spoiler which is so central to the book’s bookness that it stops me up, in any language. You have to meet the narrator and stew in her thoughts long enough to understand her accent and where it comes from, her foreignness despite being a fairly average girl from a flyover state. You have to get good and drunk and argue what all that accent might mean, whatever meaning means, and you have to do it grappling with the way personal anecdote, or even possibly memoir, is a slippery, personal delivery mechanism for whatever essayish philosophy, insofar as as any of our lives can exemplify an argument.

And I’m at it again, twisty sentence fuckery — or possibly phoquery — blathering and bloviating when I should just get to it. Here’s one thing: the plural of anecdote is not data, as the scientists rightly say. But as a talking ape, the force of the anecdote has its place in rhetoric. I read We Are All Completely Beside Ourselves because it was one of the nominees for the Nebula this year. It took me a long time to accept this as science fictional. Doesn’t this all exist in the here and now? Isn’t this the experience of some few — some very few, admittedly; but still, it moves? I eventually looped around, after starting in the middle, the way the narrator does, into acceptance.

There are levels of foreignness beyond the dorm floor Tower of Babel  that occurs when we all get drunk on unfamiliar scotch — one girl lapsing into the Spanish of her native language, another’s Southie accent thickening to incomprehension, the French, the Wisconsin, all of us speaking the language of our homes at each other in some kind of bonding exercise that won’t be remembered with clarity the next day. But we’re all human, our accents notwithstanding. The Sapir–Whorf hypothesis has been thoroughly discredited. That doesn’t mean it doesn’t resonate at some level, the one that looks around after the party has ended and wonders at our profound miscommunications with those closest to us, let alone the strangers, the neighbors, the acquaintances. Alien isn’t just alien, in the end; it’s the familiar. Which is the worst and best thing about it, the end.

 

Review: Sheltered by Ed Brisson and Johnnie Christmas

Sheltered is a perfectly lovely nasty piece of work, a “pre-apocalyptic tale” about all the horrible things people do in preparation for the end of it all. I enjoyed Sheltered immensely, but the first collection (which collects #1-5 of the ongoing comic) has an expectant, waiting quality about it, unfinished, almost unstarted. This dovetails beautifully into the themes of the comic: all of the potential of adolescence untapped and unstable, and how that adolescence slowly, choice by choice, resolves into dreary, irrevocable adulthood. Boo yah.

Sheltered first introduces us to Victoria and her father David. They’re newish members to the prepper community of Safe Haven, which lives somewhere in the hinterlands of Montana. Vic’s not altogether happy with her new digs, hanging out with Hailey, another teen girl who has been in the community much longer. “At this point I’d kill for a mall,” Vic says ruefully, sitting in a deer blind with a flask. “I hate malls. That’s how desperate I am for any sense of normality.” Her dad — an engineer of some stripe — talks shop with the other adults, obviously not quite with the whole prepper community ethos. There’s a pretty wonderful conversation about pulling permits, which I admit might not resonate for other readers who do not have a contractor’s license.

After the slow pan of the first installment, rolling over the bunkers and principals, we get to it: blank-eyed teenage psycho Lucas somehow gets all the other kids to rise up and kill their parents. The supervolcano over Yellowstone is going to erupt soon, within days — according to Lucas — and the food won’t last the three years necessary to survive the nuclear winter with all the adults alive. Hard times call for hard choices. Lucas’s motivations aren’t lingered on, nor are we given much in the ways of his persuasive arguments for doing this.

I thought about this narrative choice for a long while. It could easily be seen as cheating, rushing this hard to imagine brutality; bang, blood in the snow. But I thought it worked, in the end: this unexplained outbreak of violence in a community that has been preparing for a more explicable outbreak of violence. Plus, I dunno, I like the irony of a community preparing for the worst not being prepared for the very worst. Other than the newcomer Victoria, I get the impression that these kids have been raised with a shadow of doom their whole lives, the constant expectation of violence, and I can almost feel the relief when it arrives. Boom. Here’s your apocalypse.

Some of the mid sections are a little slack, with maybe not the best sense of place. Victoria and Hailey are bunkered down somewhere on the campus, Hailey injured, and I couldn’t quite tell you where their building was in relationship to others. Lucas makes a lot of terrible choices, and tends to respond to even perceived threats to his leadership with violence and cruelty. It works. He’s got the shiny blondness of a cult leader, but he’s still a kid. He’s marshaled his charisma to get the other kids to commit this unspeakable act, but he’s not mature enough or wily enough to manage their grief and guilt. What if you were wrong? What then?

There’s a great sequence where Lucas mansplains to another boy about how he should stop hanging out with a girl because we can’t have any pregnancies and we all have to think about group morale etc etc. His mansplaination goes on waaaay too long, long enough for the other guy to be like, geesh, lay off already, mom, I was just talking. It’s hard to pin Lucas’s motivations here: maybe he believes what he’s saying, but maybe he’s also jealous and frustrated that he hasn’t got any easy joking friendships. He’s clearly cut himself into the loner leader role intentionally, but intentions at that age are mutable and jumpy. When he can’t admit he’s wrong — and he really never can, given the stakes — his only recourse is to double down.

The end of the last installment ends with a truck pulling up, the tall figure of a man flicking his cigarette off into the snow. “Hey kid,” he says to Lucas. “Your parents around?” Boy howdy, they are not. There’s been a lot of scrabbling and missteps by Lucas up to this point, and it’s going to be interesting to see where this situation goes. On some level, a new grown up threat is what Lucas needs, given that the younger kids — like the foul-mouthed little shit Curt — have been acting like kids without parents. (Or even acting like kids with parents, because impulse control is low, parents or not.) If he can cow them into submission with another threat, he might be able to keep this crapshow going long enough for the supervolcano to blow. That’s the American way, after all.

 

Thanks to sj at Snobbery for turning me onto this.

The Guardian announces a new prize for self-published books

Well, now, this is very interesting. The Guardian is launching a self-published book of the month prize, which I think makes them the first of the old guard reviewing platforms to grapple with indie publishing this closely. And good on that.

The Guardian and Legend’s new prize is open from today to self-published novels written in the English language – translations are also welcome – with submissions to be read by a panel of Legend’s readers. The panel will draw up a shortlist of up to 10 titles a month that will then be read by expert judges, with the winning entry to be reviewed in the Guardian, online or in the paper.

I’m discouraged to see the Guardian referencing the Hugh Howey “statistics” about indie publishing, which are more or less full on bullshit, but whatever. The rise of indie publishing is a thing, whatever the numbers, and I’m cheered to see a traditional review platform take on the world’s slush pile, because heretofore citizen reviewers have been stuck with the job themselves, to more or less terrible results. Terrible not because citizen reviewers can’t assess a book’s quality — especially in boutique genres that are largely ignored by professional reviewing in the first place — but because the average reader has been exposed to the myriad of batshittery that lurks in the slush pile.

I had a friend back in the day who worked at a very small press as a publicist. The small press had a fake employee who had a voicemail and an email devoted to taking all the crazy queries and unsolicited manuscripts. They did not want an actual person to have to field this stuff themselves — I think the unfortunate job of clearing the inbox rotated — and the imaginary person could take all the threats and blubbering to no ill effect. Unfortunately, my friend had the same first name as this imaginary slush pile reader, and would get a certain percentage of the crazy queries as creepers tried to socially engineer themselves into a meeting. “I talked to Elizabeth last week,” they’d lie. “Can you put me through to her?”

The publisher did actually look through the manuscripts that were not written in crayon — which happened, oh yes — but the small but tenacious percentage of weirdos made the imaginary reader a professional necessity. I think this is more or less happening writ large in the publishing world. Anne Rice wants to strip readers of psuedonymity to keep them from “bullying” writers with their negative assessments of the slush pile. The average negative review is no more bullying than a fake editor ignoring a crayon manuscript. The slush pile weirdos have been foisted on the world, and they have never liked being shunted into an inbox. They want to meet you at home so they can tell you how wrong you are, which publishers have been avoiding for years through pseudonymity.

Now that I’ve gone out into tangent, I wanted to wind up by saying that I’m glad that the Guardian is taking the indies on.This is partially because traditional press has to adapt or die, and self publishing is here to stay. But another more selfish reason I’m glad to see professional reviewers take on self-published works is that I hope that once they start grappling with the slush pile like the rest of us have, they’ll get a fucking clue and stop using STRGB as a reputable source. The bullying narrative has been parroted widely in the traditional press, and I think a good part of that is how completely insulated they’ve been from the whackadoos out there.They’ll get to see the inbox in all of its glory.

Which is not to say that I think indie authors are all a bunch of loons, just as being traditionally published is no guarantee of sanity either. My mother, for example, self published a historical novel, and she is not trolling the kboards as we speak. (God, I hope not anyway. Mum?) It is also not to say that professional reviewers taking on the indies will solve all ills in a rapidly changing publishing landscape. But professional is as professional does, and adding professional reviewers into the mix will go far in helping readers to assess works that have been up till now more likely reviewed by friends and family than…let’s call it a less subjective readership. I’ve enjoyed many an indie title, and I will take any help I can get separating the good from the bad. I’ll be glad to see someone else’s inbox take the hit. Thanks, Guardian.

The Art of Losing: Hope is a thing

This is going to be a ramble. It’s my Grandma Dory’s 97th birthday. She died less than a half a year ago, and I’m still raw with loss on days like today. On other days, I don’t always remember, which makes the occasional rawness all that more difficult. For a smart, well-researched, and considered take on The Gorgeous Nothings: Emily Dickinson’s Envelope Poems, please check out the review in the New York Times.

A friend of mine – actually more the mother of a childhood friend that I’ve known forever – recently posted a picture of birds in a glassed case. She titled it “Three little birds,” undoubtedly referencing the Bob Marley song because I know how she rolls. It came after a series of posts about her father – the grandfather of my childhood friend – and his experiences in his assisted living home. He is 102 years old. The image bolted me to the floor.

When I was visiting my Grandma Dory in the past years — after the fall, before the stroke, after the stroke, before the end, in the middles when it was just fall and I was there, or it was spring, and I was sprung — I would sit in the broad open visiting area with its hard couches and watch the birds. There was a glass case with a variety of finches, all hopping tropical finery, and a three-ring binder on a string with their names and attributes. I’d page through with my daughter to learn their names in the interstitial times: right before my cousin came and told us stories, right before we set up a dinner in the odd “meeting room” with its badly framed art, right after all that jazz and heartache while I waited for my husband to pull the car around, like one does, my son with his head in the Nintendo DS. The birds hopped.

When she died, my closest cousin and I messaged a lot about what we were going to say. He is the oldest boy of the cousins; I am the oldest girl. (That we are both nigh on 40 years old does not factor; boy and girl were what we were to her in the best most difficult way.) We linked each other a lot of Cure songs and other tragedies. (Six months apart, we are the children of our time, and I’m not going to apologize for that.) Birds were a motif for us, for her, my grandma, all of her watchful years and feeders hung out in front of the picture window. I remember smearing peanut butter in a swinging wooden stand on her behest when I was six, licking the knife. For the birds. I remember the owl and his plastic neck turned nearly around in the woods outside of the Payne Farm house seen through the spyglass she left on the windowsill. Do you see? she would ask.

 

“Hope” is the thing with feathers –
That perches in the soul –
And sings the tune without the words –
And never stops – at all –
And sweetest – in the Gale – is heard –
And sore must be the storm –
That could abash the little Bird
That kept so many warm –
I’ve heard it in the chillest land –
And on the strangest Sea –
Yet – never – in Extremity,
It asked a crumb – of me.

He read this, in the end, at her end. God, how I miss her. I even miss him, my closest cousin, our relationship always in these hard, bright moments when he is here or I am there, suddenly, at an event. Nigh on 40, these events tend to take the tang of loss more often than they used to, funerals more than weddings, loss more than gain.

I was shocked as child when my dad made fun of Dickinson. “A bird came down the walk,” he said, puffing out his chest and making the universal sign for chicken arms that he flapped. How can you make fun of her weird observations? She was indeed an odd old bird, all of her slashed punctuation, all that hiddenness. She wrote poems on envelopes like I write grocery lists on the same, the economy of the domestic scribbled out on whatever is at hand. “Hold this”, I say, in the car as we go the grocery store. “Read it back.” My daughter cannot read my cursive and chides me, the reused envelope in her hand. She pretends at cursive in pages of fake script. I wonder at the things that might shock her about how I feel: how could you? I imagine my feelings are glassed, fluttering behind surfaces that she can see through but cannot touch.

In my more crystal moments I think about the long twisting process of grief, which makes me grab whatever is at hand to staunch the bleeding. I cut the tip of my thumb off by accident earlier this week, and it didn’t even hurt at first. After I’d run the water pink and wrapped leaking gauze over the digit, I looked closely at the bit of thumb and nail that sat on the edge of the blade. It was like there was another me pushing through the knife. I got tissue and pushed what I’d cut off away. I am sorry for your loss. I am sorry for my loss. I am not sorry for all the gorgeous nothings.

In this short life that only (merely) lasts an hour
How much — how little — is within our power

 

The Troop by Nick Cutter: Hungry Man Games of the Flies

I’m going to make one of those specious and ultimately rhetorical dichotomies just so I can start with a bang. There are two kinds of horror story: the one one that puts you off your lunch, and the one that makes you sleep with the lights on. This is one of the former. Oh, baby, is it one of the former.

The Troop by Nick Cutter begins with a vignette of a hungry man eating himself to bursting, and then vanishing into the underbrush. Our monster, then, or the monster is within him. The setting is Prince Edward Island in Canada, which has in Cutter’s hands a similar grubby small town feel as Stephen King’s Maine: multiple generations of gossip and expectations, a social stratification where the difference between the haves and the have nots is thin. We cut to the titular Boy Scout troop landing on Falstaff Island off the coast of PEI, a small island wilderness with no particular infrastructure beyond a cabin and a shed. The hungry man stumbles into camp, smashes the radio, sickens and then dies. We are then off and running.

A lot of blurbcraft about The Troop focuses on its similarity with Lord of the Flies, and certainly I’m not going to say that that comparison isn’t apt on some level. But sometimes I think the Lord of the Flies comparison gets used knee-jerkily. One could just as easily compare this with The Hunger Games – har har – and the comparison would be as accurate and as specious. Maybe it’s just that I encountered Lord of the Flies late, not as a kiddo nodding though A Catcher in the Rye and A Separate Peace and similar novels with young protagonists that are often foisted on the students before they can handle them. My young self mostly noted that Holden was a douche, for example, and the one scene I remember was him trying to scratch out the word fuck in graffiti so his sister Phoebe wouldn’t see. “Fuck you,” I thought. “Phoebe isn’t some delicate flower.”

I hit Lord of the Flies in a college Brit lit class that focused on the Angry Young Men, a (contested, like all literary movements) movement that originates in working- and middle-class British writers in the 1950s that focuses on class and violence and class violence, with a sideline in misogynist bullshit. The writers, reductively, tended to be bright boys who’d been plucked from their class neighborhoods and dumped into the less-charming Hogwarts of the British public school system on scholarship, with predictably brutal results. (If you are a Yank playing along at home, “public school” in British means the exact opposite it does in American.) (Also, my prof was more or less one of these, making his lectures fairly pyrotechnic. Teach what you know, oh baby.)

Golding’s novel has nothing of the “kitchen sink realism” of writers more closely associated with the Angry Young Men, but Lord of the Flies does certainly situate in the aesthetic philosophically, and philosophy is more or less the operative word there. Lord of the Flies is a pretty serious kick in the balls of the Robinsonade novel and all of the colonial and class garbage that goes along with imagining Tom Hanks and his beach ball Friday conquering the wilderness and the natives by dint of their superior skin color and technology. The characters are more or less tropes intentionally, with whole categories of persons like the younger boys functioning as a Greek chorus, Athenian mob style this time. Lord of the Flies isn’t about people, but People; not about a society but Society.

Which circles me back to The Troop. There’s much about The Troop that is predictable or stock, from the situation – cut off from the mainland with a threat! – to the cast of characters – the nerd, the jock, the spaz, the mad scientist. But the concern isn’t philosophical, which is not meant to be a dismissal but a description. Cutter’s got the sensibility of a short story writer, crafting brutal little vignettes in serial, end to end until the end that isn’t. His characterizations are deliberate, careful, the sort of non-sequential and almost tangentially important moments that are only important to an individual. An individual who interconnects with a society, lower case s, one that might be emblematic but isn’t – and this term makes my ass twitch – universal. There’s no predictable character-as-destiny – except as the most mordant joke – nor are the most horrifying things you find in The Troop the most horrible objectively. All I’m saying is that the death of a turtle can be way freaking worse than you’d expect in a narrative that includes the deliberate murder of a kitten.

I’ve been half-invoking gender in this review so far: my kinship with unseen sister Phoebe over monologuing Holden, my quick bristle about the casual chauvinism of the Angry Young Men. I realized recently that since the start of the year I’ve been alternating between horror and romance, novel by novel; squelching dread against ecstatic expectation and its fulfillment. Horror tends to be written by men for a male audience; romance by women for women. Alternating the two is a trip, especially because both tend to focus strongly on the body and its functions and fractures, but in extremely gendered ways. What I tend to like or dislike in either genre is incredibly personal, but often can be boiled down to my feelings of the author’s deliberation or care. (Sidebar: discuss why women tend to subsume their domestic panic into the HEA, while dudes go for bloodbath without cauterization. I know what Camille Paglia would say, but the semiotics of spurting makes this late model feminist tired.)

The all-boy horror novel is pretty common. A quick calculation on the back of a napkin shows that four of the last six horror novels I read fail the Bechdel test, with another one right on the edge. (Usual caveats about Bechdel: no, it’s not an indicator of poor quality; yes, it’s a hideously low bar.) As I was reading, I watched The Descent again, which has a similar set up: a group of single-gender characters – this time all-women – are confined with a lethal threat, and the thrills escalate. And I love both of these narratives for the care they take with their prêt-à-porter structures, wringing out some very deliberate observations about the ways single-gender groups interact, both in times of crisis and without. In The Troop, I felt the all-boy environment wasn’t an accident – a thoughtless reiteration of tropes, or the tendency of the genre to focus on the concerns of masculinity, or its capital letter version, Society – but a deliberate choice that focuses carefully on the social life of boys. Hoorah.

I started reading horror late. I can trace it right back to the birth of my first child and the severe body trauma of that event, one that had me overcoming my girlish squeamishness about viscera, one that reworked my sense of what is scary. I’m not afraid of being torn open from the inside anymore; that’s a done deal. But I’m terrified of that call from the behavior specialist from the school, my 11-year-old son in a paroxysm of pre-adolescent pain. He’s on a godamn island of sometimes terrified boys, and there is little I can do at this point to help, short of momishly unhelpful stuff. That I didn’t recognize him exactly in the cast of The Troop is an ugly comfort; these are other mother’s sons. Not that it makes it any better, in the end. Good job, Nick, if that is your real name.

 

Thank you to Netgalley for providing me an ARC.

Marrow’s Pit by Keith Deininger

I’ve read four novellas out of DarkFuse‘s novella series now, and that this is the first that didn’t really do it for me is a pretty great track record. All signs pointed to Marrow’s Pit by Keith Deininger being in my wheelhouse: big, steampunky habitation called the Machine, an authoritarian dystopia with religious overtones, a planet-wide storm called the Maelstrom, a big freaking chthonic Pit of Doom. I mean, look at that gorgeous cover, for crying out loud. Unfortunately, I felt like the all that very cool stuff ended up being used as little more than ornament on a fairly perfunctory infidelity plot.

The horror novella seems to be a perfect thing, in a way: long enough to get some good grist, short enough not to exhaust the spooky possibilities. Here, I don’t know, this seemed to fall in a fallow area. I can imagine this story being relocated to an apartment complex in the Soviet Union – or any other society with a harsh cultural ideology and dense industrial landscapes – without too much tweaking. Some gross and crazy things happen, but I honestly couldn’t tell you whether they were intended to be dream sequences or not, or if that would matter.

While I freely admit that my disappointment is based on false perceptions of the book, I think I could have liked Marrow’s Pit despite my disappointment if the main character held any kind of resonance for me. There’s something clever about creating a character who has these gauzy and indistinct fantasies about revolution getting sidelined so thoroughly by domestic drama. However, schlubby cuckolds with no particular energy don’t turn my crank. Also I straight up do not get that ending. While I can see that it should slash does have meaning, I just can’t access it.

I don’t know. I always feel bad about disliking this sort of thing. It’s not doing anything wrong and I can see how the whole cabbage-redolent dread of the Marrow’s Pit might work for someone else. Better luck next time, I guess.

 

 

I received my copy from the fine folks at DarkFuse and Netgalley. Thanks.

New words added to the Oxford English Dictionary

The OED has published a huuuuge list of new words and usages, and it is good. Cue a raft of op-eds decrying the death of the English language, but those people can suck it. The list seems to sort itself out into the usual categories:

Overlooked and now obsolete words that are now getting recorded. Maybe obsolete is too harsh, but I imagine the heyday for the word beatboxer (n) was back when Biz Markie was a thing. (Men in Black 3 doesn’t count.) The scimitar-horned oryx (n) is straight up extinct.

Sciency (n) techno-words that describe something that is meaningful only to people with very specific letters after their names. Observe: dichloromethane (n),  ethoxylated (adj), quadrupla (n and adj). Bonus points on that last for starting with a Q. Too bad it’s too long to be a good Scrabble dictionary word, which is having its own round of OMGs after Scrabble opened submissions to the hoi polloi.

Academicese. There’s a whole lists of words that start with the prefix ethno-, and well as variations on the term hegemony. My favorite of the last group is hegemonicon (n). (We’re going to fill the Hegemonicon with mud, mud, mud! Kids under twelve get in for free!)

Why wasn’t this in the OED before? Scissor-kick (n), demonizing (v), empath (n). In regards to empath, it’s possible I watch too much science fiction.

Foreign loan words: vato (n), shvitz (n and v), ese (n). Warms my heart to see some Yiddish. Some of these dovetail into the next, somewhat bullshit category of words which is…

Slang. This is where all the op-eds bemoaning the end of civilization come from. Slang seems to be an  iffy catch-all, referring to words like profanity, or words spoken by discounted groups of people – racial minorities, the poors – or just words coming out of youth culture. People seem to lose their shit about the last two, but slide more on the first. Given how old most swears are, there’s really no way to argue that they’re going to ruin Christmas if they haven’t already.

There are four- four! – variations on the word cunt, in addition to three new sub entries on the c-bomb. There is also the utterly charming cunnilingue (n), which I assume means what I think it means. Also bestie (n). There don’t seem to be the kinds of words that really get people into a tizzy such as netspeak, textspeak, or acronym words (like lol or wtf), so maybe this time the op-eds will be more muted.

I once got in a hugely stupid fight on facebook about the acronym word when a friend of mine blubbered about wtf making it into the OED. But that’s an acronym, not a real word! Okay, sure, except for thousands of military words – they love their acronyms when things get fubar and they go awol – a lot of tech words – scuba and laser – and all kinds of organizations like Nabisco or the Gestapo (which is a funny juxtaposition.) The dictionary is not Miss Manners, nor is it a style guide. Use it wisely.

 

The n-Body Problem: Oh, the Humanity

In the end, the zombie apocalypse was nothing more than a waste disposal problem. Burn them in giant ovens? Bad optics. Bury them in landfill sites? The first attempt created acres of twitching, roiling mud. The acceptable answer is to jettison the millions of immortal automatons into orbit.

Horror can seem a little rule-bound at times. There’s a monster, say a zombie. You work out how it’s defined – it’s a living person infected with a rage virus, or a dead person who is reanimated. It can run, or it can’t. It can climb, or it can’t. It doesn’t like sunlight or it doesn’t care. You figure how to kill it, or immobilize it, or cure it, or you die and join it. You figure out if everyone is infected, or if it’s transmissible, or how long it’s been since the first outbreak, the last outbreak. You set up communities that function according to rules that dovetail into the rules for the monster. In this way, you make the point that the true monster is human. Ba dump tss.

The opening of The n-Body Problem by Tony Burgess, despite a seriously questionable level of sanity from the first person protagonist, seems to start with rules in mind. It’s been 20 something years since the first dead person didn’t stay dead. It’s not so much that they became flesh-eating corpses, but that the dead just never stop moving. After the initial panic died down, they had millions of wriggling undead bodies to be disposed of. End result: they start shooting them into space. Our protagonist – who I would like to note is off his nut – is spending his time plying some serious hypochondria and chasing a man called Dixon. Dixon is a traveling horror show who rolls into town and convinces the entire town to kill itself, presumably so they can go to space because it’s so pretty and peaceful up there. Then he plays in their corpses.

You can kinda see how this set up might unfold: the requisite show down between Dixon and Bob (which is not the protagonist’s name, but I think the only one he ever gives); the boy Bob picks up serving as a generational example of What Has Changed; some pyrotechnics with WasteCorp, which is the multinational company that has shot a billion wriggling corpses into space; maybe even a sequence in the cold airlessness of space, the sun rising over the black orb of the planet in wavering stabs of light. Burgess occasionally gives you glimpses of these narrative possibilities – like a searing fever dream that takes place in space, the corpses turning sunward like flowers – but mostly he just laughs inscrutably and delivers some of the sickest shit and stomach-dropping plot turns I’ve ever seen.

The n-body problem is a mathematical problem going back to antiquity for predicting the motions of celestial objects in gravitational relationship with one another. This is certainly a problem if you don’t understand that, say, the stars and planets are not in a fixed orb rotating around the earth, but it’s apparently also difficult to solve using general relativity. Frankly, there’s a lot of wonky maths that I don’t get in the explanation. Obviously, this book is named The n-Body Problem because of one billion corpses in space and all that, but I think there might be another reason too: Burgess is taking a big, gory dump on post-apocalyptic conventions, just absolutely hazing you and your expectations. Solve for x, bitch.

Another possible title for this novel: Trigger Warning for All Things.

So you want to see some marauding cannibals and rape gangs? Boom, only he turns the rape gangs into a mordant joke, and denies you the prurient thrills that so much apocalit delivers in the form of sexual assault. How about a blood bath? Boom, only this time it’s a swimming pool, and the blood is still shimmering in that uncanny way of the undead here. The sickness is so sick it’s downright funny at times, these horrible laundry lists of horrors that numb until, wait, what the holy hell was that? The whole thing is completely bonkers, transgressive in a way that goes beyond the usual transgression of body horror, of which there is plenty. Nobody’s going to yell, “Oh, the humanity!” when the zombies start falling from the sky in some half-assed coda.

“They look like cherry blossoms. Opening and then falling apart in the wind.”

I guess I could go on, but I’d probably get into spoiler territory. I just want to note, quickly, that there’s something here that reminds me of Ice by Anna Kavin. Ice is a strange, mid-century post-apocalyptic novel written by a functioning heroin addict which is about, insofar it is about anything so easily spoken, two men fighting over girl. The landscapes rear up in the same ways, the connectives cut with a box-cutter, the identities fragile and mutable. And the ice. Ice made me incredibly uncomfortable – often in ways The n-Body Problem does not, owing to certain perversions I have about mid-century novels – but there’s still a central discomfort that feels the same to me. This discomfort doesn’t necessarily come from content – though, I did mention this was sick, non?- but some deeper, more chthonic level which implicates me in the proceedings. If I were still rating things – I’m trying not to – I’d leave this similarly unrated, because no metric as childish as stars – their motions cannot be solved for anyway – can get at my response.

So yeah, thanks to sj for turning me onto this, but then also what the fuck did I just read?