Veniss Overground

I just reread one of the earliest posts on this site, a review of Jeff VanderMeer's Veniss Underground, because today I picked up a copy of the new U.S. edition from Bantam, which has a magnificent cover and collects some of the Veniss stories originally included in Secret Life.

The review is not particularly well written or insightful -- it is weakened by the fact that I had just returned to reading SF after years away, and I had been so excited by the directions certain writers were pushing the field toward that many sentences suffer from a bad case of hyperbolic gush. But my basic opinion of the book, sans gush, remains the same. In many ways, I'm glad to have reread the review, because now having read so much more of Jeff's work, I'd begun to develop the feeling that Veniss was a minor element of his oeuvre, when it's really quite a good piece of writing in and of itself. (Yes, I still dislike the slang, but it's my problem, not the writer's.) Because the Ambergris material that makes up City of Saints and Madmen (itself to be released in the U.S. in a new edition at the beginning of the year) is so rich and vast, I had focused over the past couple of years on it, and had not given a lot of thought to Veniss, but looking at it again now, I realize that this was a mistake. Plenty of images and moments from Veniss remain vivid in my mind now, despite my having read hundreds of books since last reading all of Veniss Underground. That's often what I most value about a book -- to call something "haunting" is some of the highest praise I know, because life is busy, and images and words bombard us all constantly. For a few images and words to lodge themselves in my memory for more than the length of a book is rare and marvelous, and it adds depth to the experience of living.

When I wrote the Veniss review, I didn't know Jeff VanderMeer at all, though we have since become friends. When he emailed me after I posted those thoughts on the book (mostly to explain his reasons for the slang), it gave me an opportunity to tell him that we'd actually corresponded before -- I was about fourteen, I think, and he had just founded a magazine called Jabberwocky that lasted for two issues. I read about it in the market listings in Writer's Digest and sent some awful story to him, and got back a long personal rejection explaining everything that was wrong with what I'd written. It was the first note of any length I'd ever gotten from an editor, and I wrote back, explaining that I was 14 and wanted to be Isaac Asimov. Jeff offered advice of various sorts (grow sideburns, study biochemistry), and I bought a copy of the magazine. From then on, I paid attention to his name, and I remember feeling like I had some connection to royalty when a couple years later he won a World Fantasy Award for "The Transformation of Martin Lake". Buying a copy of Veniss at a crowded bookstore today, I felt again a little touch of that adolescent wonder, but this time it was overshadowed by the joy of seeing a friend's accomplishment.

Popular posts from this blog

"Stone Animals" by Kelly Link

If Kelly Link isn't the best short story writer in the U.S., then she's the equal of whoever is. I first came to this conclusion a couple of years ago when I read her story "Lull" in Conjunctions: 39 , and I am absolutely certain of it now that I have read "Stone Animals" in Conjunctions: 43 . (Of course, I've also read her collection Stranger Things Happen , but, much as I admire it, nothing in that book is as breathtaking as the stories she has written since it appeared, particularly the two Conjunctions stories.) "Stone Animals" both employs and parodies the basic elements of suburban psychological realism, the sort of scaffolding John Cheever and so many other writers hung their words and laundry on: a family buying a house and moving into it, a father commuting to a desultory job in the city, a pregnant wife who is uncertain about her marriage, suspicions and allegations of adultery, existentially anxious children, a controlling b
Read more

Never Let Me Go by Kazuo Ishiguro

If you expect Never Let Me Go to be about cloning, you will be disappointed. If you expect to be able to read it as a logical science fiction novel, one that extrapolates an alternate world that makes sense, you will find much to grumble about. You will not be satisfied. You will be annoyed, even bored. You will have missed the point. Cloning is a MacGuffin that Kazuo Ishiguro uses to create symbolic situations and characters that coalesce in a powerful vision of life. The symbolism doesn't quite reach the level of allegory, because it's difficult to assign definite meanings to each scene and person, but nonetheless it quickly becomes difficult not to think about certain themes: mortality, love, fate, memory, art, nature. Each paragraph either illustrates or expands one of these themes. In the first half of the book, the ideas the novel personifies do not gain a lot of emotion, but by the second half of the book the characters have become familiar, their personalitie
Read more

The Penny Poet of Portsmouth by Katherine Towler

     Dawn again, and I switch off the light. On the table a tattered moth shrugs its wings.      I agree. Nothing is ever quite what we expect it to be. —Robert Dunn Katherine Towler's deeply affecting and thoughtful portrait of Robert Dunn is subtitled "A Memoir of Place, Solitude, and Friendship". It's an accurate label, but one of the things that makes the book such a rewarding reading experience is that it's a memoir of struggles with place, solitude, and friendship — struggles that do not lead to a simple Hallmark card conclusion, but rather something far more complex. This is a story that could have been told superficially, sentimentally, and with cheap "messages" strewn like sugarcubes through its pages. Instead, it is a book that honors mysteries. You are probably not familiar with the poetry of Robert Dunn , nor even his name, unless you happen to live or have lived in or around Portsmouth, New Hampshire. Even then, you may not
Read more

"Loot" by Nadine Gordimer

I've intended to write about Nadine Gordimer's very short story "Loot" for years, ever since I first read it in The New Yorker , and for some reason I actually thought I had written a post here about it.  I recommended the story to a friend a few days ago and intended to include a link to my post about the story when, after a bit of searching, I realized I'd never written the post.  Now I will fix that mistake. From the first sentence, "Loot" is a story about time and history, about legends and imagination.  "Once upon our time," it tells us, there was a Great Event -- the greatest earthquake every recorded, the greatest of all measured "apocalyptic warnings".  Not only is it a Great Event (indeed, the Greatest of such events), but it is ours: we possess it. The second paragraph details the effects of this greatest event of ours.  Most giant earthquakes at sea produce floods and tsunamis, but not ours -- our special earthquake d
Read more

Reflections on Samuel Delany's Dark Reflections

At the Los Angeles Review of Books , I have a new essay about Samuel R. Delany's 2007 novel Dark Reflections , which is about to be released in a new and slightly revised edition by Dover Books . Here's a taste: In many ways,  Dark Reflections  is a narrative companion to Delany’s 2006 collection of essays, letters, and interviews,  About Writing . In the introduction to that book, Delany says that its varied texts share common ideas, primary among them ideas about the art of writing fiction, the structure of the writer’s socio-aesthetic world both in the present and past, and “the way literary reputations grow — and how, today, they don’t grow.” The book is mainly, though not exclusively, aimed at aspiring writers. It provides some advice on craft, but it circles back most insistently to questions of value, and especially to questions of the difference between  good writing  and  talented writing  — and what it means, practically and materially, for a writer to shape a li
Read more

What Belongs to You by Garth Greenwell

Garth Greenwell's debut novel What Belongs to You  is one of the most celebrated and successful gay novels of 2016. Its success seems to me both odd and gratifying. It is a book that garnered the attention of the literati, and not just the gay literati, though it certainly has that (Edmund White blessed it with a blurb). It received praiseful notice from nearly all the major literary institutions in the U.S. (and elsewhere). It is a remarkable novel, but were I a literary agent or publisher, much of what makes the novel remarkable would have caused me to assume it would not sell very well and would find, at best, a niche audience. (This is perhaps reason #28,302 that it's good I'm neither a publisher nor an agent!) I don't know the sales figures for What Belongs to You , but it hit the LA Times  bestseller list for a couple weeks, got tremendous review coverage, and often seemed to be among the books of the moment — I traveled a lot during 2016, and nearly everyw
Read more

The Snowtown Murders

The Snowtown Murders  (aka Snowtown ) inevitably draws comparisons to another brutal and disturbing Australian crime movie, Animal Kingdom , with which it shares some general plot elements and stylistic moves (both films were shot by Adam Arkapaw ). But where  Animal Kingdom  shows one young man's struggle to stay innocent in a family of thieves and murderers, Snowtown  depicts the power of a small-time messiah to employ hatred as an excuse for torture and murder. Both films focus their narrative on a quiet (eventually traumatized) adolescent surrounded by monsters, but Animal Kingdom,  for all its virtues, is primarily a drama of demons and angels fighting for a soul, whereas Snowtown  is less allegorical, less schematic, and more deeply disturbing. (A more meaningful comparison than with Animal Kingdom  would be with  Henry: Portrait of a Serial Killer .) Though in some ways Snowtown  is the story of how Jamie Vlassakis goes from being an apparently gentle and unassuming t
Read more