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Belated Readercon Recap: Towards a Literature of the Anthropocene

July 23rd, 2015

LCRW 33 in my mom's raspberry patch

LCRW 33 in my mom’s raspberry patch

One LCRW theme issue, two Readercon panels and a lot of hallway/bar/dealer’s room conversation (not to mention years of bumping around blindly alone in the dark), have only whetted my appetite for a much broader, sustained conversation about the promise and pitfalls of writing fiction in and about the anthropocene epoch. Don’t get me wrong–the panels were great (see previous post for titles/descriptions) and I even got to moderate one of them. But I confess I am not particularly good at steering discussion, especially not in person, in front of a crowd, with four smarter, more eloquent people all of whom have equally valid and quite distinct perspectives. And there just wasn’t enough time to cover it all. My fellow panelists laid out fascinating ideas, and I got a decent line in here and there, but we barely got into stuff I thought we could have spent a whole panel on, or two, or seven. And I had all these lovely panel notes I didn’t even get to!

One of my hall conversations afterward was with Emily Wagner, program chair, who I asked for more like that next year. “Propose panels,” she said, and I will. But I’m also going to do what I can to get people talking in the meantime.

To that end, I’ve convinced a few of the LCRW 33 contributors to field some questions about how they apply these ideas in their own work. I’ll be posting those interviews here over the next couple weeks, and doing a few interviews myself elsewhere (here’s one with the UK-based Nottingham Writers’ Society).

First, though, I thought I’d recap the Readercon discussion for those who missed it (insofar as I remember it), share some of those notes I haven’t yet managed to get the good out of, and lay out the directions in which I think this conversation needs to go.

Read the rest of this entry »

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Readercon 2015 Schedule

June 29th, 2015

Friday July 11

12:00 PM    F    Writing in the Anthropocene: SF and the Challenge of Climate Change. Gwendolyn Clare, Michael J. Daley, Michael J. Deluca (leader), Max Gladstone, Vandana Singh. Science fiction and fantasy have often dealt with fictional apocalyptic scenarios, but what about the real-world scenario unfolding right now? Climate change, or climate disruption, is the most challenging problem faced by humankind, and some have called it a problem of the imagination, as much as economics and environment. In the wake of the latest scientific reports on what is happening and what might be in store for us, we’ll examine how imaginative fiction conveys the reality, the immediacy, and the alternative scenarios of the climate problem.

4:00 PM    EM    LCRW. Christopher Brown, Michael J. Deluca, Eric Gregory, Deborah McCutchen, Alena McNamara. Lady Churchill’s Rosebud Wristlet Group Reading

6:00 PM    ENL    Solarpunk and Eco-Futurism. Michael J. Daley, Michael J. Deluca, Jeff Hecht, Rob Kilhefer, Romie Stott (leader). In August 2014, Miss Olivia Louise wrote a Tumblr post proposing the creation of a new subgenre: solarpunk. Solarpunk, sometimes called eco-futurism, would be set in a semi-utopian future visually influenced by Art Nouveau and Hayao Miyazaki, and built according to principles of new urbanism and environmental sustainability—an “earthy” handmade version of futuretech, in opposition to the slick, white, spacebound surfaces of 1980s futurism. Solarpunk blogs have since proliferated, as Tumblr users like SunAndSilicon create and aggregate concept art and brainstorm solarpunk’s technological and societal shifts, enthusiastically building a shared-world fandom with no single owner or defining central text. For some, building solarpunk is an escapist fantasy. Meanwhile, in San Francisco there have been meatspace conventions to develop some kind of manifesto, with the hope of eventually moving realworld society in a solarpunk direction. What, if any, are the precursors to this kind of grassroots genre creation? Is it an inevitable outgrowth of fan-funded niche publishing through crowdfunding? Is solarpunk’s locavore pro-tech optimism in the face of climate change a distinctly Millenial backlash to Gen-X dystopias? And can the inevitable contradictions of a crowdsourced utopia survive the rigors of critical reading?

Saturday July 12

10:00 AM    ENV    Reading: Michael J. Deluca. Michael J. Deluca. Michael J. Deluca reads A short story, 2900 words, forthcoming in Mythic Delirium.

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LCRW 33 Contents

June 25th, 2015

lcrw33cover

It is done! And I am very happy.

fiction

Carmen Maria Machado, “I Bury Myself”
Alena McNamara, “Starling Road”
Giselle Leeb, “Ape Songs”
Michelle Vider, “For Me, Seek the Sun”
Deborah Walker, “Medea”
D. K. McCutchen, “Jellyfish Dreaming”
Sofia Samatar, “Request for an Extension on the Clarity”
M. E. Garber, “Putting Down Roots”
Eric Gregory, “The March Wind”

nonfiction

Christopher Brown, “Winter in the Feral City”
Nicole Kimberling, “Cook Like a Hobo”

poetry

Leslie Wightman, “The Sanctity of Nature”
Ingrid Steblea, “Another Afternoon in the Garden”
Kelda Crich, “Child Without Summer”
Peter Jay Shippy, “Singing Beach”

art

Kevin Huizenga
Dmitry Borshch
Steve Logan

What a mind-altering thing this has been for me. You know how, in this modern age, you look at social media and you only see what you want to see, from people you agree with, or at the most, you see stuff people you agree with are making fun of or eviscerating? Because that’s how the algorithms are designed to work, they’re these feedback loops trying as hard as they can to keep you coming back. Or maybe you look at TV, but your preferred stations and talking heads are doing basically the same thing, they’re narrowing down, they’re telling you what they want you to hear and only that. And of course, because everybody’s competing with everybody else for that privilege and for your attention, they simplify, dumb down, hyperbolize. And okay, maybe you go out into the world and interact with actual people, but disagreeing over drinks or a game of croquet just isn’t polite conversation, you don’t want to hear it from them any more than they want to hear it from you. Life as a process of polarization. It’s the virgin forest and the oil refinery and nothing in between.

Well, reading submissions for this issue has been the opposite of all that. It’s been open and organic and worldview-shakingly diverse, and it has been a balm. I feel like I’m seeing this thing, us and the world, in so much more relief and nuance than I ever was before.

I don’t know if it’ll feel the same for all of you who read it; you’re not vested in it in quite the same way; you’re not seeing yourself in it like I am. Seeing myself in the work of 250 or so writers, poets and artists, picking out the best of those, the ones that touch and cut at me and break me open. And then reading them all again, being forced by practicality and circumstance to pick out even fewer, then fewer still. And then arranging those in order, not unlike the way one arranges the scenes in a story, for all these other people to take in. What a thing.

Maybe it won’t be the same for you when you read it. But I hope it will. Because we all need that.

The issue will be out in print and ebook form in time for Readercon, at which there will with any luck be a small group reading from those contributors who happen to be in town. Later there will be a podcast episode. More about all that later. In the meantime, why not subscribe to Lady Churchill’s, get your copy and some delicious chocolate in the bargain.

A happy if belated solstice to you all.

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Gene Wolfe

August 13th, 2014

All of us from that time grew up with the feeling that you shouldn’t waste anything: you don’t waste rags, because rags can be useful.

–Gene Wolfe on the Depression, from this excellent interview shared with me by Justin Howe, reader of everything. Not a new sentiment–my grandparents were living evidence of this–but a universal one. Perennial. I can only hope the kids of the next generation grow up with this inscribed on their hearts/souls/skulls. Those of the current one certainly didn’t. Lately it seems chances are high it’s going to kill us.

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Review: Sherwood Nation, Benjamin Parzybok

July 15th, 2014

Preorder <i>Sherwood Nation</i> from Small Beer Press

In a Pacific Northwest beset by hourly more plausible, climate change induced desertification, the city of Portland struggles under strict water and power rationing, while the government and the rich glut themselves on hoarded resources. A plucky group of rebels arises to oppose them in the name of the people, annexing the poor Northeast neighborhood to create a tiny utopian state within city limits. Idealism, triumph, smashed idealism and tragedy ensue, along with a healthy share of the soulstring-resonatingly surreal.

“…You’d need a mask and a horse, obviously.”

“Mm, spurs.”

An eerie clop clop clop sounded through the open window and they looked at each other in amazement.

“A horse!” she said. “You’re a conjurer!”

But instead it was a big moose that stumbled along the dusty street, its skin tight over its ribs. Its head jerked left and right in anxious, almost animatronic movements.

“Oh no,” Renee said, “I fucking hate this. Josh saw a bear two days ago—I told you?”

They watched it continue down the street until a shot rang out. The moose’s body jerked and sidestepped strangely and then there was another shot.

“That’s a whole shit ton of extra food rations if they can store it,” Zach said as they watched men close in on it. “God knows how they’ll store it.” The moose stumbled again on a third shot but continued on.

“They’ve got to get a straight shot in.”

“I can’t watch,” Renee said. She climbed back in bed and spoke to Zach’s shirtless back as he watched the moose fall and the hunters try to drag the animal to the side of the road. “Hunters in the streets.”

“Dying of thirst has got to be worse,” Zach said.

Benjamin Parzybok’s Sherwood Nation is the sort of SF novel I’ve been waiting for someone to write, wishing I could write: a near-future utopian political adventure romp thought experiment. By page 50 I was crying and cheering. These are not common reactions for me when reading fiction; I wish they were. Now I’m waiting for someone to write the next one, while I struggle to do the same. Here’s hoping it be you.

It’s not nostalgic–no laser blasters, no spaceships with batwings and 50s car fins. It’s not escapist. No, okay, it’s escapist–dare I say all fiction is–but it escapes to something rather than from it? It’s not grimdark, where the escapism comes from reveling in hopelessness, forcing you to roll in hopelessness like a bully mashing your face in the mud so when you look up at the real world it briefly–falsely–looks less shitty. It’s realistic, it’s honest. It’s fun. It’s as fun as Parzybok’s first novel, Couch, which is saying a lot, and somehow it manages to be almost as silly even while realistic, sympathetic, human characters are making horrible decisions and getting killed. It’s full of heroic characters I can actually believe in, I can almost believe myself and the people I love capable of being like, in the right circumstances, under great pressure. And it puts those plausible heroes in a setting enough like our own that the hard solutions they find just might apply to the real world. And that is something we need. Something I don’t see SF or literary mainstream fiction or anything in between providing.

Parzybok manages to make it feel effortless, spontaneous and painstakingly well thought out at the same time.

It’s not perfect. Sometimes Sherwood Nation gets caught up in its own myth and falls into wish-fulfillment. But it’s not often. As often, we’re shown the kind of horrors a Fox News pessimist might imagine of a dictatorial/socialist utopia. And as in every other post-apocalypse setting I can think of, there’s handwaving. The question of where the water comes from, the long view of a droughted state, fades away for most of the book. But the focus is on the social and political aspects of revolution, people getting caught up in ideas, people resorting to each other in ways they don’t, can’t, in other than extraordinary circumstances. All Parzybok’s really clever ideas for surviving water shortage and living with power shortage on a citywide scale may be considered to take the place of SF wow-factor trappings in a more traditional postapocalyptic novel–I think of Bacigalupi’s spring guns and engineered elephants. They’re cool, they fit the setting, they inspire–and in so doing set the stage for the radical choices that drive the plot–they’re not the story. But unlike in Windup Girl, really unlike in anybody else’s SF I can think of, Parzybok’s wow-factor trappings are actually practicable, now, to actual beneficial result for the individual and the potential future of humanity. And for me, at least, and for us climate geeks who are the likely target audience, that plausibility does absolutely nothing to reduce the wow-factor itself.

I confess I love everything Parzybok has ever written. I know he’s not for everybody. But I’d argue Sherwood Nation is also the most accessible thing he’s written. So…if you’re anything like me…give it a try, won’t you?

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Towards a Borgesian Mythos

June 15th, 2014

I want there to be a Borgesian Mythos like there’s a Lovecraftian Mythos. Instead of, even. Lovecraft is worn out. Like Poe. You don’t even need me to enumerate the reasons, you know them. Whereas Borges is still and will I hope forevermore remain the shit. Mirrors, labyrinths, alephs, books, libraries, tigers, dreams, dreamtigers, roses, compass roses and every other easily encapsulated form of the infinite. Knives, swords, hronir, secret cults, the color yellow. Leibniz, Ramón Llull, Schopenhauer, De Quincey, Martín Fierro, Borges (both the fictional Borges and the real one). The Thousand and One Nights. The Quixote.

I said this to some people and they told me I should edit an anthology. That’s too much work. Also, it threatens to undermine the very purpose I’m trying to achieve. What happens when you edit a themed anthology? One of two things. First: it goes away. The original short fiction anthology as self-defeating prophecy. Once was enough, everybody stops caring about the idea and goes on with their tentacle porn. Second: everybody falls in love with it. Fifteen more of the same anthology come out, one from every micropress, until we’re all sick of it the way I’m sick of shoggoths and being asked to redeem that unsavory sociopath whose head is the World Fantasy Award.

(Can I get a bronze Borges head? Maybe I’ll commission one.)

So here’s this blog post instead.

Why isn’t there a Borgesian Mythos? There is–lurking just around the next corner in the library stacks, unassuming, impeccably researched, subtle, wry, brilliant, obscure.Christopher Brown did it hilariously in Strange Horizons. Umberto Eco, Roberto Bolaño and Mark Danielewski all perpetrate patently Borgesian fictions. One step further away one finds Jedediah Berry, Stephen Millhauser, Carlos Ruiz Zafon. One step closer, Adolfo Bioy Casares, Manuel Peyrou.

phobos

And me, yes, I do it. I’ve been trying to write Borgesian fiction for years. Not until lately have I (depending how stringently you’d like to define the term) succeeded. “The Immodest Demiurge Ezra Buckley” appears this week in Phobos Magazine. It’s a story based on a few lines from the postscript to “Tlön, Uqbar, Orbis Tertius” I’ll let you go look up. Panel notes where I came up with the idea are here. The title is modeled on a couple of his early “histories”, “The Cruel Redeemer Lazarus Morell” in particular. See also “Other Palimpsests” in Bibliotheca Fantastica, maybe my first attempt at Borgesianness, which went through quite a lot of iterations over years before I finally wandered across an enervated, obsessive academic POV ready to lose himself in an aleph-text, a page that is all pages.

bf-full-cover-72

The trouble with proposing a Borgesian Mythos–or of admitting you’ve contributed to one–is now you’ve talked about it. It’s not a secret cult anymore. Point it out and it ceases to be a fictional imposition on consensus reality, a comparative-cultural hronr like all those Borges fanboys in their yellow suits, and instead reverts to a fandom, the usual kind we all have to pick apart until it’s no fun anymore.

So forget what I just said. Forget all of it. This isn’t the blog you’re looking for.

Instead, just read this interview with Borges from 1966. He’s magic! Is there anything he hasn’t read? He’s like a santa claus of literature. Read the whole thing and tell me you don’t want to read about that guy for another couple thousand pages across all forms and genres.

Ready?

INTERVIEWER

You have said that a writer should never be judged by his ideas.

BORGES

No, I don’t think ideas are important.

INTERVIEWER

Well, then, what should he be judged by?

BORGES

He should be judged by the enjoyment he gives and by the emotions one gets. As to ideas, after all it is not very important whether a writer has some political opinion or other because a work will come through despite them, as in the case of Kipling’s Kim. Suppose you consider the idea of the empire of the English—well, in Kim I think the characters one really is fond of are not the English, but many of the Indians, the Mussulmans. I think they’re nicer people. And that’s because he thought them—No! No! Not because he thought them nicer—because he felt them nicer.

Lovecraft never said no such thing, let me tell you.

The defense rests.

Jorge Luis BORGES, Galleria Nazionale, Palermo, 1984

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Readercon Jitters

July 2nd, 2013

Behold, my schedule for this year’s Readercon, which is next week.

Friday July 12

12:00 PM    G    Writing Others I: Theory. Michael J. DeLuca, Andrea Hairston, Rose Lemberg, Maureen F. McHugh, Daniel José Older, Joan Slonczewski (leader), Sabrina Vourvoulias. Authors who want to write outside their own experiences of race, ethnicity, culture, gender, and sexuality face a multitude of challenges. How do we present each character’s unique perspective while celebrating their distinctive identity and avoiding stereotypes and appropriation? How is the research and writing process affected by differences between the author’s and the character’s levels of societal privilege? Is it possible to write about future diversity without oppression, or does today’s reality require us to write in today’s frame? Which authors have handled this well, and what form does “handling this well” take?

Proposed by Joan Slonczewski and Michael J. DeLuca.

1:00 PM    G    Writing Others II: Practice. Michael J. DeLuca, Rose Lemberg, Daniel José Older, Joan Slonczewski, Sarah Smith. This practical discussion, led by Joan Slonczewski and Michael J. DeLuca, is for writers who have read Writing the Other, or otherwise carefully studied the pitfalls of cultural appropriation, and decided to take the plunge of writing about people whose experiences differ significantly from the author’s. How does one go about acquiring sufficient understanding of another culture, gender, or sexuality to write about it respectfully, productively, and effectively? We’ll discuss research techniques and writing methods used by successful writers of the other, as well as problems and solutions we’ve encountered in our own work. Attending “Writing Others I: Theory” is recommended.

Saturday July 13

10:00 AM    VT    Reading Michael J. DeLuca reads “Remorse and the Pariah,” a mini-epic poem published in Abyss & Apex.

Sunday July 14

10:00 AM    G    Digital Marginalia: A Conversation with Your Future Self. Neil Clarke, Michael J. DeLuca, David G. Shaw (moderator), Ruth Sternglantz, Gayle Surrette. Electronic reading devices allow us to carry huge libraries wherever we go. They also provide us with the ability to highlight, annotate, and share what we read. In a 2012 blog post, Clive Thompson described this enhanced reading experience as “a conversation with the author, with yourself, and in a weird way, if you take it along as a lifelong project… a conversation with your future self.” According to Craig Mod, “The book of the past reveals its individual experience uniquely. The book of the future reveals our collective experience uniquely.” What tools will we embed within digital texts to signal this shifting relationship with literature, and how will readers use them?

I’m the token white guy on those Writing Others panels. This comes as no surprise—it was partly my idea—but that doesn’t make me any less nervous. I have only the shallowest command of the theory, have not read nearly as widely as I should (though struggling to correct that as we speak) and have participated not at all in the great debate. Believe me, I will be showing up prepared, with copious notes and humility. Not that it will do any good. You know what might do some good? A friendly face or two in the crowd. So please come. Because it’s an important topic, getting more important pretty much in real time. Because it’s something we all need to know. And because I have put myself in the unenviable position of really, really needing it in order to keep writing what I want to write.

Nerves aside, I’m sure it’s going to be a great weekend with people I love dearly and don’t get to see enough.

Come to my reading too!

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Stuff (Fiction) I Have Coming Out in 2013 (in Theory)

March 14th, 2013

To remind myself when I forget. Also, once in awhile one must break down and do a little self-promo. Alphabetical by title.

  • “Construction-Paper Moon”, a father-daughter SF story, in Space & Time #118, reprinted from The Homeless Moon 1.
  • “Deer Feet”, a YA urban fantasy story set in my old neighborhood in Jamaica Plain, Boston, in Urban Green Man.
  • “Other Palimpsests”, a Borgesian horror story, in Bibliotheca Fantastica.
  • “Remorse and the Pariah”, a mini-epic poem about the cyclops from Homer, in Abyss & Apex.
  • “The Unicyclist’s Fate”, an electropunk love story set in the ’30s, in Airships and Automatons, reprinted from The Homeless Moon 3.
  • “The Urchin’s Dark Kite”, a fairytale, in White Cat, reprinted from the now-defunct A Fly in Amber.

I think that’s everything so far. Three new stories, three reprints.

I need to write more.

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Immortal ConFusion

January 17th, 2013

has nothing to do with either navel-gazing vampires or an opiated Duncan MacLeod. Not much, anyway. It’s the name of a Detroit-area speculative fiction convention I’ll be at this weekend along with suspects such as Saladin Ahmed, Justin Howe, Scott H. Andrews et al. Maybe we’ll see you there.

My schedule is as follows:

Saturday 11:00 AM Reading: Michael J. Deluca & Scott H. Andrews Windsor
Join Michael J. Deluca & Scott H. Andrews as they read from forthcoming work. Michael J. DeLuca, Scott H. Andrews

Saturday 2:00 PM So Your Protagonist Is An Orphan… Southfield
Batman. Luke Skywalker. Cinderella. Frodo Baggins. Dorothy in Wizard of Oz. Harry Potter. James Bond. Superman. One of the few things that heroic characters have in common is that they often have dead parents. While this does sever their ties to past and family, and while this often kick-starts the hero’s journey…can we lay off for a while? What is it about the orphan angle that we can’t seem to leave alone, and what kind of alternatives could provide an equally compelling Batman? Carrie Harris (M), Diana Rowland, Doug Hulick, Mary G. Thompson, Michael J. DeLuca

Sunday 10:00 AM Religion In SF/F Erie
Is there a place for religion in Fantasy and Science Fiction beyond a tool for the villainous? How do we produce fantastical faiths, or imagine a future society that does not lampoon people who believe? Aspects of religious demagoguery are often the go-to model in speculative fiction, for good reason, but what else should authors be looking for from theology? Alastair Reynolds, Brian McClellan, Howard Andrew Jones, Michael J. DeLuca (M), Saladin Ahmed

Sunday 11:00 AM What The Heck Is Literary Fiction? Erie
Literary fiction has cachet. Publishers love it – but what exactly do they mean? When “Literary” works can include post-apocalyptic scenarios, science-bending technology, generation-spanning storylines that run from sword swinging to future technologies, how does one define “Literary”? Should we, as authors or audience, even try,? Is this definition a cover for “serious” writers dipping their toes into our favorite subjects? Kat Howard, Michael J. DeLuca, Myke Cole, Ron Collins (M)

Hoo I signed up for too many of these. If nobody strenuously objects, I shall likely not post panel notes this time. They’re not that interesting, and anyway I’d rather be posting more Guatemala pictures instead.

If you come to just one thing, make it the reading. Saturday at 11 AM. Scott and I will make an effort to have something cool and homemade for (some of) you to taste. First come, first served.

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Tlön, R’lyeh, Orbis Tertius (Notes for my Bibliofantasies Panel)

November 2nd, 2012

Friday 3:00 p.m. Vaughan BIBLIOFANTASIES
Many classics of the fantasy and supernatural revolve around mysterious, exotic, arcane, or potentially threatening books or collections of books. The panel will go beyond the Necronomicon to discuss examples, and the enduring popularity of the trope. Helen Marshall (M), Tina Connolly, Jennifer Crowe, Michael DeLuca, Don Pizarro.

All books are codifications of thought–they take something mutable and subjective and make it fixed and objective. This has vast potential negative consequences; e.g. religious doctrines. Writing anything down is an act of exclusion.

Myth-encodification

  • Book of the Dead, Egyptian, Tibetan
  • Popol Vuh – fascinating example because lost and found again. What happened to the myth in the intervening time? It exploded.
  • Plato’s Phaedrus – A Socratic dialogue wherein Socrates shoots down the written word as lazy and weak.
  • The standardization of the Bible. apocrypha, gospel of Judas
  • Malleus Maleficarum
  • Grimm’s, Mabinogion

Fictional books are a resistance to this process. They restore subjectivity and mutability–at least, until somebody actually tries to write them. Thinking about this conflict leads me to Borges and Lovecraft: Lovecraft because he’s in the panel description, Borges because I’m pretty much always thinking about Borges.

Lovecraft
“The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents.” –Lovecraft, “The Call of Cthulhu”

By which of course he means also the opposite, that terror is founded on the attempt to correlate experience with that which contradicts experience. I really like and am sad that I can’t corroborate the theory (Wikipedia, elsewhere) that Abdul Alhazred’s last name comes from “all has read”, that the Necronomicon is the result of a human being attempt to comprehend everything–or at least, everything that has been written.

Wilbur had with him the priceless but imperfect copy of Dr. Dee’s English version which his grandfather had bequeathed him, and upon receiving access to the Latin copy he at once began to collate the two texts with the aim of discovering a certain passage which would have come on the 751st page of his own defective volume. This much he could not civilly refrain from telling the librarian–the same erudite Henry Armitage (A. M. Miskatonic, Ph. D. Princeton, Litt.D. Johns Hopkins) who had once called at the farm, and who now politely plied him with questions. He was looking, he had to admit, for a kind of formula or incantation containing the frightful name of Yog-Sothoth, and it puzzled him to find discrepancies, duplications, and ambiguities which made the matter of determination far from easy. As he copied the formula he finally chose, Dr. Armitage looked involuntarily over his shoulder at the open pages; the left-hand one of which, in the Latin version, contained such monstrous threats to the peace and sanity of the world.

–Lovecraft, “The Dunwich Horror”

Borges

“…an enormous circular book with a continuous spine…that cyclical book is God.” –Borges, “The Library of Babel”

“Tlön, Uqbar, Orbis Tertius” is the fragmentary, subjective history of a conspiracy to create an encyclopedia describing a fictional culture whose establishing principle is subjectivity. It may in fact be an indirect reference or homage to the Necronomicon? Lovecraft died 1937, story first published 1940. And we know Borges read Lovecraft, though he didn’t like him much, because later he wrote “There are More Things”, an acknowledged Lovecraft homage (in reference to which Borges calls Lovecraft “un parodista involuntario de Poe”). And (skipping over Clark Ashton Smith etc) the fan reproductions/insertion of Necronomicon entries in card catalogues etc seems to originate in the 70s, possibly influenced in turn by Borges (or by a secret conspiracy to allow Borges to influence the legacy of Lovecraft)? Cool! Johannes Valentinus Andrea, 17th century philosopher referenced in “Tlön”, “invents” the Rosicrucians in approximately the same way Borges invents the cult of the Necronomicon? Through satire. Hee! And by drawing this silly connection, I am more or less aping the philosophers and literary theorists of Tlön, who “seek not truth, or even plausibility–they seek to amaze, astound.”

Consider, with respect to all this, the old saw that it becomes less scary once you see it. Lovecraft suffers from this–At the Mountains of Madness becomes a story about eldritch cosmic bureaucrats once we learn too much about them. In “The Dunwich Horror” I wish the big slimy whipporwill-tweeting thing would have stayed invisible. Does this mean being in the position of Adbul Alhazred–knowing everything and making the decision to record the most awful part of it (making it the truth?) would actually be, not sublime, not awe-ful, but freaking boring?

Still, for some reason, in this my fourth or fifth time through “Tlön, Uqbar”, I find myself most intrigued by the reclusive Texan millionaire, Ezra Buckley, whose arrogance impels the clandestine society of Tlön to create not a country but a planet, and who ends up being as responsible as anybody in this story for the world’s true history being eclipsed by that of Tlön. I’m kind of itching to write a story about him.

More Fictional Books in Classic Genre

  • Eco – Name of the Rose
  • Alexander – The Book of Three
  • Gaiman – Sandman, Destiny’s book, the Library of Lost Books
  • Ende – The Neverending Story – interesting example, since it at once creates the fictional book and codifies that book, but only partly so. As I interpret it, the second half of the novel breaks out of the bindings of the fictional Neverending Story, though of course not the physical one.

Fictional Books I’ve Read Recently and in the Near Future

  • Carlos Ruiz Zafon – The Shadow of the Wind
  • Gabriela Damian Miravete – “Future Nereid”, in Three Messages and a Warning
  • Me – “Other Palimpsests”, everybody else (or so I presume) in Bibliotheca Fantastica
  • Samatar – A Stranger in Olondria – There’s an ebook coupon for a free sample of this in your WFC swag bags.

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