Three Novels To Grow On: A Thought Experiment
A thought experiment – every fantasy novel in the world has been destroyed. You have only been able to save three. From these a new fantasy genre will be born. What three novels are they?
I know two of mine, but I’m still trying to figure out the third.
In the meantime what are yours?
Loren Eiseley
“This book will be read and cherished in the year 2001. It will go to the MOON and MARS with future generations. Loren Eiseley’s work changed my life.”
That’s Ray Bradbury from the back of Eiseley’s The Star Thrower. Reading that quote made me wonder how many people I know (most of whom are readers) have actually heard of let alone read Loren Eiseley. I don’t even remember how I came about reading him. Maybe it was simply from romping around on wikipedia or maybe someone mentioned him. But when I asked friends if they had read him most people my age or younger hadn’t even heard of him. I guess his fame never made it past the 1980s (at least outside of his hometown), which is a shame because he’s amazing.
He’s a more humanist Carl Sagan. A nature essayist that writes like Thoreau by way of Weird Tales. An essay about foxes will start with a quote from Peter Beagle talking about magicians. It will end with Eiseley sleep deprived at dawn, chicken bone in his mouth, playing with a fox cub in the dunes. Maybe it’s the fate of science writers. Their work too tied to progress and the rate of technological advancement to be anything but doomed to oblivion. Maybe he straddled the line too much and wasn’t enough of a materialist. He spoke too often of miracles.
“Since boyhood I have been charmed by the unexpected and the beautiful. This was what had led me originally into science, but now I felt instinctively that something more was needed – though what I needed verged on a miracle. As a scientist, I did not believe in miracles, though I willingly granted the word broad latitudes of definition.”
The Books We Don’t Read
This isn’t going to be another Hugo post. But I won’t say that the Hugo announcement didn’t get me thinking more a bit about this. This stuff had been on my mind for a while now. For one reason I recently read Ann Leckie’s Ancillary Justice, a book some folks are claiming is the best/most ground-breaking novel they’ve read in recent years. A claim I don’t at all agree with. My reaction’s similar to this one. In a nutshell I thought it bland. It would have been better if it had had 50 – 100 pages cut from it. This would have kept the descriptions from miring the plot’s impetus. This is my usual complaint with most contemporary genre novels. Stanislaw Lem’s Solaris is 225 pages. Molly Gloss’s The Dazzle of Day is 256 pages. Personally I blame Iain M. Banks.
But… I read it, and that’s the thing.
The fact that I finish a book is a recommendation of that book. The fact that I’m compelled to critique it isn’t a reason not to read it. I might have issue with it, like I did with last month’s On Such A Full Sea or with Ancillary Justice now, but the critique doesn’t make the book not worth reading. Ancillary Justice is an entertaining Space Opera. I’ll blather more about it at the end of the month, as I will about Molly Gloss’s The Dazzle of Day (which I loved and think everyone should read, really).
The problem’s that the conversation’s going to be one-sided.
We’ll talk about the books we read. We’ll engage with them and pick them apart. This may be because we don’t like the book, or had issue with it. But we’re having a conversation with it. Read the book and let’s argue about it! What we can’t do is talk about books we don’t read. And for all sorts of reasons there are plenty of books I don’t read.
There’s the obvious time constraint for one, knowledge for another, and a host of subjective reasons (I’m not the biggest fan of close reactive 1st person), but more importantly I’m not going to read works by authors I don’t respect or who I don’t think are particularly good writers. Nor am I really going to engage with many living writers whose politics are so much different than mine. So Ann Leckie’s on my radar because we’re both in that section of the genre ocean, but Larry Correia isn’t. I’ll dismiss Brad Torgerson as a bad writer, but by doing so I’m never going to engage with his work. And that silence there bothers me, because it’s willful on my part. It’s not that there’s no sound there. It’d that I’m choosing to reject it. That’s part of the problem.
Say there’s a disagreement between two people. One person you disagree with and reject outright as wrong. The other person you agree with, but wish spoke better, for whatever quality of better you want to apply. Now, when you ignore the person you disagree with because they’re wrong, but quibble with the person you do agree with, what purpose are you serving? Because what you might be doing is adding to the noise around the person you agree with without altering the message from the other side.
And those are some of the questions: Do you cheer louder for books you’re not enthusiastic about, simply to shout down the other side? Do you read books by authors you don’t like to prevent yourself from thinking there’s only silence on the other side? And then what about those hateful authors? Are you obligated to read them? Or is politicizing one’s reading time ultimately a waste of time? I don’t agree that’s true, but most people aren’t trying to read over a hundred books this year, and I’m not about to make any claims regarding how other people should spend their time.
I do my best to read widely. Not the easiest or cheapest thing to do outside the anglophone sphere when you’re a klutz and can’t seem to keep an e-reader from self-destructing, not to mention having a full-time job, writing my own stuff, and pursuing a graduate degree. But I try. The question is should I try and read books I’m fairly confident I’m not going to like.
Anyway, that’s what’s on my mind.
More About Fan Fiction
In my last post I talked slight crap about fan fiction. And after a few moment’s reflection I thought, “Well, shit, have I really even read much fan fiction?”
So I sought some out.
I did a Google search for Firefly fan fiction and came up with gold. That’s been my reading material for the past two days. And beside the Craiglist personal ad aspects of some of it (erotic pairings of Book & Wash, Mal & River, and Jane & everybody), I think I’m getting a better handle on what it is in fan fiction that grates on me. But before I tell you that, let me say that reading these stories has made me realize that the thing I don’t like about fan fiction is also the thing I need to learn how to do.
Back to what bothers me about it – it’s the immersion level of the work. And this is where I think it overlaps with a genre hang-up I have. I don’t enjoy being so deeply immersed in a story. Sure, I love when I’m immersed in the act of reading, but extreme moment to moment story immersion feels confining. I feel drowned by a writer that describes everything, every moment, every thought of a character’s life. Yeah, that’s hyperbole, but with some books it feels that way. It feels that the writer is holding my hand and directing what I can or can’t pay attention to while they monologue about the movie going on in their head.
But the thing is for fans of shows, fans that would want to write about their favorite show, and a good number of genre fans that level of immersion is what they’re after. They want to be deep in the paracosm on the moment to moment level. It’s not a bug, it’s a design feature. And that’s something I need to learn.
So today’s piece of writer enlightenment:
The thing you dislike in other books is the thing you need to learn for yours.
Sex and Violence
In most genre books I skip the sex scenes and the fight scenes.
All the fight scenes tell me is you the author have watched The Matrix (or MMA matches or Crouching Tiger, Hidden Dragon) enough times to describe it.
All the sex scenes tell me is you have an internet connection.
Having just finished a Western (Valdez is Coming* by Elmore Leonard; I recommend it) I saw it wasn’t these two things but the lead up and repercussions from them that made things interesting. It’s only that people are obvious and put pages of dueling MMA wizard anal elf sex in their books for some reason. If you love it, then hey, that’s great. But for me, it feels like I’m reading the fan fiction for the RPG supplement you wrote in novel form.
* hardeeharhar
Genre Character or Writer?
What’s more important to you?
My wife’s a cartoonist and she’s been creating a comic for the past 6 months. In that time she’s built up something of a fan base.* One thing she’s noticed is that her fans are less fans of her comic as a whole than fans of this or that character. It got us talking about what makes us like certain books. Whether it’s the genre/series itself, the character, or the writer.
Put another way, when you read a Sherlock Holmes mystery, what’s more important, the mystery or Sherlock Holmes? What about a Philip K. Dick novel?
There’s no right or wrong to this. I can think of two somewhat similar writers whose books I enjoy, Liz Hand and Kameron Hurley, both of whom write grim, violent stories. But I read Hurley’s Bel Dame series, for the series itself, then the characters, while the writer remains in the background. In the case of Liz Hand’s recent mystery novels I’m reading them more to see how this particular writer, Liz Hand, uses the mystery genre, yet while being less attracted to her messed-up “detective” character, Cass Neary.
And I don’t think it’s something you can maximize. Like if you blend all three effectively then you will write a blockbuster. But I wonder whether other folks have considered this. What do you think?
Do you read by genre, character, or writer?**
* When a complete stranger draws a picture of a character you’ve created, I’ll say you have developed a fandom.
** And yes, this questions skews towards popular genres. Though maybe not.
Adjusting Downward
Goodreads has a 5-star rating system. I find it pointless to give a book a less than 3-star rating. If you don’t like the book that much, why keep reading it? (Although I did give 1-star in a fit of pique to a SF novel a few years back, likely because acquaintances raved about it.)
If a book gets 3-stars that’s my way of saying it was okay, and I liked it enough to finish it. 4-stars mean I liked it enough to recommend. 5-stars mean it was great, and I hope to reread it some day.
But over Christmas I just finished reading Iain Banks’ A Song of Stone. It was so unenjoyable, but he’s a writer I like so much that I couldn’t drop the book.
So now 2-stars means this book stinks but I finished it out of brand loyalty.
The Books
Stuff read this year, not including single short stories or stuff read for grad school. I do feel like I’m not reading widely enough, which I know is probably an insane conclusion, but yeah.
In other news Pohang got some light snow. This meant, since it’s somewhat southish, the city was in panic mode because they don’t have sand trucks or plows or anything to deal with half an inch of snow apparently.
Desert Solitaire: A Season in the Wilderness – Edward Abbey
Elisha Barber – E. C. Ambrose
War Fever – J.G. Ballard
The Face in the Frost – John Bellairs
The Queen, The Cambion, and Seven Other – Richard Bowes
Mindplayers – Pat Cadigan
My Antonia – Willa Cather
Dagon – Fred Chappell
Engine Summer – John Crowley
Scattered Among Strange Worlds – Aliette De Bodard
Status Anxiety – Alain De Botton
Babel-17/Empire Star – Samuel R. Delany
The Enemy Within: A Short History of Witch-hunting – John Demos
The Brief Wondrous Life of Oscar Wao – Junot Diaz
The Mapmaker’s War – Ronlyn Domingue
The Voyage of the Short Serpent – Bernard du Boucheron
The Werewolf of Paris – Guy Endore
American Gods – Neil Gaiman
The Ocean at the End of the Lane – Neil Gaiman
Lois the Witch and Other Stories – Elizabeth Gaskell
Red Shift – Alan Garner
Thursbitch – Alan Garner
Trafalgar – Angelica Gorodischer
Ammonite – Nicola Griffith
Twenty Fragments of a Ravenous Youth – Xiaolu Guo
Available Dark – Elizabeth Hand
Empty Space: A Haunting – M. John Harrison
Cogan’s Trade – George V. Higgins
The Digger’s Game – George V. Higgins
Poets in a Landscape – Gilbert Highet
Fremder – Russell Hoban
Linger Awhile – Russell Hoban
Turtle Diary – Russell Hoban
Sword of Fire and Sea (Chaos Knight Book #1) – Erin Hoffman
The Discovery of Witches – Matthew Hopkins
In A Lonely Place – Dorothy B. Hughes
Rapture (The Bel Dame Apocrypha #3) – Kameron Hurley
Infidel (The Bel Dame Apocrypha #2) – Kameron Hurley
An Artist of the Floating World – Kazou Ishiguro
Fair Play – Tove Jansson
Nobody Move – Denis Johnson
The Desert of Souls – Howard Andrew Jones
How To Make Friends With Demons – Graham Joyce
Storm of Steel – Ernst Junger
At Amberleaf Fair – Phyllis Ann Karr
Nightshade and Damnations – Gerard Kersh
The Secret Commonwealth of Elves, Fauns, and Fairies – Robert Kirk
Fury – Henry Kuttner
The Spy Who Came In From the Cold – John Le Carre
The Best of All Possible Worlds – Karen Lord
In The Enclosure – Barry N. Malzberg
Bullettime – Nick Mamatas
Love is the Law – Nick Mamatas
Last Dragon – J.M. McDermott
Hong Kong – Jan Morris
Memory – Linda Nagata
Snitch World – Jim Nisbet
Who Fears Death – Nnedi Okorafor
The Company – K.J. Parker
Temporary Agency – Rachel Pollack
The Dog of the South – Charles Portis
The Glorious Ones – Francine Prose
Indoctrinaire – Christopher Priest
The Record of a Quaker Conscience – Cyrus Pringle
A House in Naples – Peter Rabe
Yellow Black Radio Broke-Down – Ishmael Reed
The Black Count – Tom Reiss
Your Brain At Work – David Rock
A Stranger in Olondria – Sofia Samatar
The Trouble with Testosterone and other essays on the biology of the Human Predicament – Robert Sapolsky
The Witches of Karres – James H. Schmitz
The Status Civilization – Robert Sheckley
The Slave – Isaac Bashevis Singer
A Pretty Mouth – Molly Tanzer
Alchemy and Alchemists – C.J.S. Thompson
Finch – Jeff VanderMeer
Meet Me in the Moon Room – Ray Vukcevich
God Save the Mark – Donald E. Westlake
The Passion – Jeanette Winterson
The Fifth Head of Cerberus – Gene Wolfe
Nightside the Long Sun – Gene Wolfe
Orlando – Virginia Woolf
Dirty Weekend – Helen Zahavi
10 Favorite Reads of 2013
Here are my ten favorite reads for the past year.
Yes, this list ignores publication dates, and the numbers are arbitrary.
1. A Pretty Mouth by Molly Tanzer
2. Memory by Linda Nagata
3. Snitch World by Jim Nisbet
4. A Stranger in Olondria by Sofia Samatar
5. Dagon by Fred Chappell
6. Temporary Agency by Rachel Pollack
7. Engine Summer by John Crowley
8. Fair Play by Tove Jansson
9. Linger Awhile by Russell Hoban
10. The Trouble With Testosterone by Robert M. Sapolsky
Know Your History? Some Guidelines For Reading
Every now and then the debate over reading genre classics pops up and rears its ugly head. On the one hand you have folks who feel we’re losing a literary heritage and forgetting too many old great books as new great books get published. Mike Swanwick had a recent blog post to that effect. The genre was once smaller, you could read everything in it, and stay on top of it. It was easier not only to find the firsts in a genre, but also the outliers. Having a hungry curiosity for this stuff is good.
On the other hand you have the opposite position of just knowing what’s current, which in its extreme form might resemble this five year old blog post from Karen Traviss about not needing to read to be a writer. (I don’t know if Traviss still agrees with that blog post, but I’ll keep it until I learn otherwise because it’s useful.) In its milder form, it’s not needing to read every alien invasion story ever, but just those in recent years in order to see how alien invasion stories are being told now in this era.
There’s also a third hand, which shows up in the comments of Swanwick’s post, stating that the “classics” might not be so classic and why navigate through books dripping with the prejudices of their eras. This too is a valuable point, but my reading of Swanwick’s post is one not so much telling writers to know their history and cling to it, but to sift that history and find the gems in it, the outliers as he dubs them, or the books lost in genre’s shadow like the ones I mention here and here.
However there are ways to reconcile these three arguments when you keep these guidelines in mind:
1. Read only what you enjoy, but cultivate a curious and complex palette that enjoys challenges.
2. Make your own genre history. Lots of stuff gets lost in the margins or ignored because it doesn’t tidily fit in with someone’s imposed narrative. Bring these works to light.
3. The early work in a genre has more immediacy than subsequent iterations. It can sometimes be as fresh as more recent works.
4. As far as knowing your genre goes, once you’ve read the initial spark, focus on what’s been done with it in the past decade. But…
5. Always remember there are likely more amazing books that you haven’t heard of than ones you have.
And here’s another post where I carry on in more or less the same way.