My rating: 5 of 5 stars
I can’t keep beginning reviews of Gene Wolfe’s work with “one of the best books I’ve ever read” or “one of my favorite books of all time,” so I’ll begin instead with Ursula K. Le Guin’s blurb on the cover of my edition. She says that The Fifth Head of Cerberus is “a subtle, ingenious, poetic, and picturesque book; the uncertainty principle embodied in brilliant fiction.” I like that, especially the first part: this book is a subtle and ingenious puzzle, but it’s one clothed in poetic and picturesque language of the highest quality. So, yeah, I will go ahead and say it after all: one of my favorite books of all time.
The work is actually three separate novellas or novelettes. (I’m unsure of the word count, though the shortest, the middle one, is about sixty pages, while the final and longest is over one hundred.) I say separate, but they fit together like the pieces of a well-crafted and interlocking puzzle. Certain words or hints dropped in the first will only make sense after the final story is completed.
The stories take place on the twin worlds of St. Anne and St. Croix against a backdrop of colonialism, slavery, and (possible) genocide. The first story, set in a brothel in one of the cities of St. Anne, captures a rusticity and faded gentrification reminiscent of New Orleans. The first wave of settlers on St. Anne were French, but since then there’s been a war, and the setting (which spans much of the city) has a flavor of faded glory and isolation. The narrative centers around the narrator coming of age and his relationship with his brothel-master and geneticist father. Besides the science fiction elements, which remain subtle, the story is most striking in its tone– the mystery and mystique of an antique house filled with tall, silent women; the city and the slave market– all seen from the point of view of a child growing up and colored with by the dream-like perceptions of one who finds himself the subject of a years- (and perhaps generations-) long experiment.
There are deeper mysteries as well, perhaps only tangential to the first story but central to the second and third. The narrator of the first tale encounters one of these in the course of his childhood schooling, which is simply: what became of the aboriginal natives of St. Croix? There are theories that they did not die out but instead replaced the first wave of settlers and now masquerade as humans. Late in the story, the narrator encounters an anthropologist who has been on St. Croix and accuses him of being one of these native Annese. Yet this is not the riddle central to the first story, which reaches an oedipal conclusion involving cloning, entropy, and regeneration.
In the second story the scene shifts to St. Croix, ostensibly before the wave of French colonization. The narrative here straddles the boundary of history and legend in what seems a relatively straightforward account of the aboriginals on the eve of colonization. There’s a quality about it that makes me recall stories of the Dreamtime among Australian aboriginals, heightened by hints that the aboriginals can change form and the presence of the enigmatic Shadow Children– who may be the actual pre-French, original human settlers or perhaps the aboriginals who replaced them, depending on who is asking and when. This story concludes with the arrival of the new wave of colonists and the realization that a culture will be complete, inexorably lost.
Finally, the third story brings together the strands of the first two and picks up additional pieces in what I thought was the most effective of the trio (on this read). The narrative here is stitched together from interviews, journals, and interrogation recordings being sifted through by a bored official on St. Anne. You quickly come to learn that these are documents related to the case of the anthropologist we met in the first story. He traveled from Earth to St. Anne to attempt to document any surviving evidence regarding the fate of the aboriginal Annese, who have now all but disappeared. Here the aboriginals have the feel of the Fair Folk from European legend, and the blend of science fiction, folklore, and field research is rich, non-linear, and incredibly fun to read. The anthropologist heads into the wilderness in search of lingering aboriginals, certain events transpire, and he reemerges years later to travel to the university on St. Croix, where he is incarcerated as a spy.
Wolfe is doing multiple things with this particular story. There’s the unnamed official himself, flipping back and forth through the materials forming the narrative, slowly allowing us to re-create the events along with him. There’s the account of the anthropologist and his studies and his venture into the wilderness, which reads in places like a nineteenth-century travelogue, and then the 1984-esque accounts of him in interminable detention on St. Croix and subject to random and ominous interrogations. There’s commentary on colonialism and politics and slavery (which is ubiquitous on St. Croix), interviews with early colonists who may or may not have interacted with the aboriginals, and finally the puzzle itself of what happened to the Annese and what happened to the man who came to study them (which I think Wolfe gives us just enough in the second two stories to piece together).
It’s an incredibly gorgeous, subtle, brilliant, lovely book. This is the book that put Wolfe on the map, and if you like good storytelling and beautiful riddles, regardless of how you feel about science fiction, it should put him on yours.
Spoilers: Here’s my own answer to the riddle, in case you care. The first story is still largely inscrutable to me, but it’s pretty clear from the second and especially the third that by the time the anthropologist comes to St. Croix, he has been replaced by an aboriginal (specifically, the boy whom he hired as his guide into the wild). The Shadow Children are the original human colonists who came to the St. Anne, perhaps centuries before the French. They have dwindled until they’re almost a thing of legend to the aboriginals themselves, though their original coming influenced the Annese to take human form. When the French come, the first French colonists are indeed replaced by the Annese. (The narrator speaks of a war, which the French lost. Colonists of other nationalities come after this war, and the French survivors they encounter are actually the Annese.) Certain descriptions by early settlers of the “aboriginals” (who are seen as little better than animals and killed on sight) are prime example of Wolfe’s subtle treatment of horror and identity when you realize they are instead the remaining Shadow Children and indeed human.
My rating: 3 of 5 stars
I often don’t “get” modern poetry, and I’d like to think it’s not from lack of trying. I miss the rhyme and the rhythm that makes poetry fun to read aloud, or I simply don’t pick up on the deeper or more subtle rhythms of contemporary poetry. But I heard that Cairns was supposed to be the greatest Christian poet alive, and that he was Orthodox to boot, so I thought I’d give this a chance. This volume collects poems from several of his previous volumes with some new poetry as well. It wasn’t until the poems from PHILOKALIA (2006) that I started to really enjoy it, to pick up on the symbolism and the meanings, and this likely had to do with the fact that his poems from that point get distinctly religious and distinctly Orthodox. So I had a leg up on deciphering the metaphors, understanding his language. And he does indeed speak the language very well. He has a gift for distilling the mythos and praxis of much of Orthodox spirituality into half a dozen spare lines. As for example when he discusses repentance, in “Adventures in New Testament Greek: Metanoia”, here the last stanza:
as if the slow pilgrim
has been surprised to find
that sin is not so bad
as it is a waste of time.
“Possible Answers to Prayer” was another favorite and illustrates what Cairns is able to often do when discussing prayer: convict the shallowness of so much contemporary prayer while simultaneously giving a call to the sea depths of true prayer:
Your intermittent concern for the sick,
the suffering, the needy poor is sometimes
recognizable to me, if not to them.
There was much here I did not understand. There was the frustration I often run into when reading poetry of trying to extract some meaning from a handful of lovely metaphors. But there’s obviously a great deal of wisdom as well.
This passage, from “Late Apocalypse” struck me as well
… I turned and saw before me
seven bright convenience stores, each laden with a hoard
of sugars and of oils, fuels devised by economics to obtain
the most satisfaction with the least actual good . . .
His poetry is not perfectly happy, because the world is broken (and what poet, ever, is perfectly happy?). And yet behind so many of the poems there is a hint of that golden glow in Orthodox icons (which he writes about as well), the light of the world to come, or of this world if we can train the eyes of the heart to see.
Beneath Ceaseless Skies is an elegant online magazine with gorgeous covers, award-winning stories, and a growing following. It publishes “literary adventure fantasy,” with an emphasis on “literary” in the best sense, and pays contributors professional rates. (In the speculative fiction world that means at least five cents per word.)
“The Silver Khan” was my first professional sale, and it appeared in Issue 29, back in November 2009. Like “The Glorious Revolution,” the story treats a revolution of sorts, though a much more abrupt and haphazard revolution. In a caliphate by the sea, a foreign visitor tries to uncover the secret of the Silver Khan’s floating palace (hint: it’s not magic) and decipher the meaning of the frozen statues scattered about its gardens.
Like much of my writing, this story was driven primarily by setting. I had an image of the palace and the gardens, and I wrote this story to explore them. The physical mechanics of the Khan’s palace was almost as much of a surprise to me as it was to the narrator when he suddenly pieced it together. Once I realized how it flew, I knew how it would fall. The epistolatory style I probably borrowed from Gene Wolfe, though to nothing like his effect.
You can read “The Silver Khan” here.
My rating: 2 of 5 stars
If you love Gene Wolfe, read this book. If you don’t know who Gene Wolfe is, or if you haven’t yet gotten around to reading his stuff, don’t read this book. Read his stuff. Because, consider: for what other contemporary science fiction and fantasy author could you publish an anthology with original contributions by such well-known and respected names all somehow influenced by and tributing him? Even if you don’t believe all your nerdy and literary friends about how great Gene Wolfe is, you should believe Gaiman and Brin and Haldeman and Zahn.
That said, I only gave the anthology two stars. As much as I wanted to like every story in here, I was less than impressed by many of them. It’s probably not fair to compare them to Wolfe’s own stories (the anthology is Shadows of the New Sun, after all), but I couldn’t help it. A story written about Severian by someone other than Wolfe? Someone else trying to play with myth and allegory in a Latro tale? A view of Ushas through non-Wolfean eyes? They felt flat to me. Even Gaiman’s contribution was a bit of a disappointment. I would also have enjoyed hearing more about Wolfe’s life and influence; the introductory paragraphs before each story weren’t enough, especially when each story was followed by author bios two or three times as long.
There were bright spots. I especially enjoyed the contributions by Brin, Allston, Swanwick, and Zahn. Maybe because they were original pieces, and to me that seems the best tribute to Wolfe: be original. Do fine writing, but be original. Not that the others were totally derivative, they just weren’t Wolfe enough to play in Wolfe’s worlds or to play the kind of literary games that Wolfe does so well. Or I’m just picky when it comes to my favorite writer. If anything, this anthology (in particular Swanwick’s story) did inspire me to re-read The Fifth Head of Cerberus, and that may be the best gift of all.
My rating: 3 of 5 stars
If you’ve ever sat at a railroad crossing and wondered where those boxcars got tagged in vibrant colors and an apparently alien language, the answer is on a siding in King City. King City is Gotham meets China Mievelle’s New Crobuzon. It’s Scott Pilgrim’s stomping grounds with more grit, sex, space aliens, and zombies. It’s the Uglyverse for grown-ups.
Joe is a Cat Master, trained to use his super-genius cat in countless different ways as a living weapon. He’s come back home to King City, where it seems everyone is a spy or ninja or graphic artist and the streets are all marked and re-marked with past battles and advertising. There is a Demon King that needs to be stopped, but the story actually revolves around Joe helping his friend become a hero and saving his ex-girlfriend’s lover from an addiction to chalk. The anti-climax of the story works: King City is a place where you know a hundred epic struggles are playing out in the background, but Joe has come home and learned to grow up.
The art is a paradoxical blend of cartoon and grime. It fits the city Graham creates, which in certain panels resemble the bizarre lovechild of a Where’s Waldo page and a Mad Magazine spread. The entire book is black-and-white, but you almost don’t notice. The electric detail of each image makes your mind supply the color without thought or effort. King City is vividly colorful, and you remember it so. It’s also pleasingly surreal in its position on the junction of fantasy, noir, and sci-fi.
It’s not for kids. None of the images are explicit, but there are seedier places in the city (where most of the time is spent) where you can get anything you want for the right price: knives, drugs, sex. A drug-knife you can have sex with. King City can be a rough place.
But keep your cat close, and things will probably be alright.