Monday, January 29, 2007

Tattered Souls

My novelette, The Monkey Skin Cloak, has been accepted for publication in a new anthology called Tattered Souls, to be published by Cutting Block Press and released at World Horror Con in Toronto this March.

I had begun to despair that this piece would ever be published, even though I consider it to be one of my better stories. It had some strikes against it - it's long, over 13,000 words, it's historical, set in a period which few people know much about, and it contains somewhat graphic sexual content - too graphic for most mainstream publications.

The story was rejected by all the wrong magazines and anthologies, and that it's finally being published is a testament to the importance of finding the right market. When a story is rejected, it's not always because it sucks. Sometimes it sucks, but not always. Often, it's just not right for the magazine. Keep in mind the last two of Heinlein's Rules of Writing:

  • You must put the work on the market.
  • You must keep the work on the market until it is sold.

If you believe in your work, you have to keep trying.

Frak you, by Jove!

My gods, don't you frakking wish that they'd stop saying "frak" and "my gods" on Battlestar Galactica?

The characters on the show worship a Greco-Roman pantheon and I suspect the writers know how ridiculous it would sound if the president and Apollo and Starbuck were to go around saying, "By Jupiter!" or better yet, "By Jove!"

So why do they think "My Gods!" isn't just as ridiculous? It's more ridiculous. Such exclamations are not needed. And neither is the colorless metaphor - frak.

100 Years of Reading

I've been saving this post until I finished the last book on my list. I just finished, so tonight begins a series of posts about great books and great authors and literature in general. Please start your tapes now. There will be a test at the end.

A little over a year ago, I started a year long reading bender. It all started in November 2005. I came down with my usual November illness, and while too sick to go to work, I did manage to drag myself to a used bookstore and picked up a copy of Harry Potter and the Chamber of Secrets. Earlier in 2005, I read the first book. Now began a somewhat frantic period in which I devoured the next five.

I have always been a reader. The ladies at the Chinese restaurant that I frequent (the restaurant, not the ladies) comment on the fact that I always have a book. But for many years I have tended to reread the same books over and over. I've read Lord of the Rings over twenty times, the original Conans probably five times, Fritz Leiber's Nehwon series probably ten times, the Earthsea trilogy (plus Tehanu) seven times, three times each for Faulkner's The Rievers, Go Down Moses, and The Hamlet, five or six times for Dinezen's Out of Africa, a couple times each for Hemingway's For Whom the Bell Tolls and The Sun Also Rises plus a half dozen each for Green Hills of Africa and Death in the Afternoon, not to mention multiple rereadings of Hemingway's short fiction. And a few others, to be sure.

But in November 2005, I decided first to not read anything that I had already read, and second, to read books and authors who are (or were) considered the very best in their genre. Now, some fifteen months later, I've finally finished the novel I started reading in early December. I want to see if I can go back through all the books I read and give you my impression of them, whether I think they live up to their reputations (either the author or the book), and how the book affected me as a reader and an author.

I'll start with book I just finished - 100 Years of Solitude, by Gabriel Garcia Marquez. This novel is a large part of the reason Marquez won the Nobel Prize in Literature. Because of it, the genre of magic realism became acceptable as "high literature" (but only if you're from Latin America). It has been called the great novel of the Americas and required reading second only to the Book of Genesis. It was featured in Oprah's Book club, for God's sake!

Right.

It's a good book. I enjoyed it, although I thought it went on too long. Toward the end, I just wanted it to end and I was reading out of a sense of duty more than anything else. Really, the book should have ended with the death of Ursula, or somewhere soon after, but what do I know - I've never won a Nobel Prize.

It is an interesting novel with a huge scope - to tell the saga of a family over a period of 100 years. There are parts of it that are brilliant. There are parts that are forgetable. But this is not a book that will stick with me. It did not haunt me. I don't think I will reach a point one day where I wil be stuck with a story and I'll say to myself, how did Marquez handle this in 100 Years of Solitude?

This is how I measure the worth of a book or an author to me - does their work haunt me, do I continue thinking about it days, weeks, months, years later? Do I dream it? Do I find the author's voice creeping into my own writing? Do I seek the author's help with my own stories? Will I search out other books by the same author? Will I reread the story at some point knowing I will enjoy it? Would I miss the book if I were to lose it?

Perhaps I read 100 Years of Solitude too late in life. I don't know. I wasn't disappointed by it, as I have been disappointed by so many books over the last year. Neither have I fallen in love with it, as I did with Nabakov's Lolita and Peake's Gormenghast. But we'll save them for later.

100 Years of Groans

Which is not to say that 100 Years of Solitude has little merit. It is a monumental book, from everything I've read about it. It changed literature, and whether or not I think it is a great book doesn't lessen the importance of its impact on the art of storytelling.

I'm just saying that it's not as good a book as, say, Titus Groan and Gormenghast, two novels by Mervyn Peake. All three books of the Gormenghast trilogy preceded 100 Years of Solitude - Titus Groan was published in 1946, Titus Alone (the last book) in 1959. It's possible that Marquez read them. But really the only similarity between the two books is their epic scope.

100 Years of Solitude is called literature, subclassified as Magical Realism, while Gormenghast is classified as fantasy, even though there are far more magical and supernatural events in 100 Years of Solitude than in either Titus Groan or Gormenghast. (Titus Alone being somewhat of a sci-fi novel, and far inferior to the first two books, I'll leave them out of the discussion.) Both stories take place in mythical places - 100 Years in the fictional village of Macondo, Titus Groan in the sprawling castle of Gormenghast. But Macondo is located in some unnamed Caribbean country, while Gormenghast is set in an entirely fictional world. Therefore, Mervyn Peake is classified a fantasist, while Marquez is an author and his work deemed worthy of the Nobel Prize in Literature.

But of the two works, Titus Groan is superior in every respect. The story is better, as is the storytelling. Peake's imaginative and surprising use of language ranks him among the very best writers of the English language. It's hard for me to judge Marquez because I've never read him in the original Spanish. Perhaps his Spanish is astounding and to be truly appreciated, 100 Years of Solitude must be read in Spanish. I've only read the English translation, and although good, it is no match for Peake's verbal gymnastics. The characters in Titus Groan, fantastic and eccentric as they are, are more believable than the dozen of Aurelianos and Jose Arcadios that are born, live, and die in 100 Years of Solitude.

So, to answer my own questions, I will say that Titus Groan haunts me to this day. If you read the first line and especially the first chapter of the novel I am currently writing, you will see how deeply the book has affected me. I can only dream of one day writing as brilliantly as Peake. And I know that one day I will return to it, if for no other reason than the sheer delight of his language.

Friday, January 26, 2007

Who You Gonna Call?

See the ghost?





A couple of weekends ago, my econowife, OfJeff, was looking through some old photos she had found at her grandparents' house, when she came across this early 1950s photo of her mother and uncle.


Her mother's face, as you can see, is almost completely obscured by what appears to be the ghost of a man.


Of course, this is simply a double exposure. We're not sure who "the ghost" is. OfJeff's first impulse was to call him "the milkman" for reasons she was unable to explain. The fact that he's so small pretty much assures that it is a double exposure, because you'd think a ghost would be in proportion to the other people in the picture. But then again, who knows?


It's still kind of creepy, though.