Prism, Mirror, Lens: Samuel Delany’s Dhalgren

Dhalgren

Bellona has its own time zone: BMT (Bizarro Mean Time)

to your reading list. (Full disclosure: Delany is a contributing editor for Femspec, an academic journal I work with).

It took me several months to finish this book, and not merely because I started it amid a bevy of life changes. Referring to Samuel Delany’s Dhalgren as difficult would be cliched. Gregory Frost compared it to Gravity’s Rainbow and Ulysses. A longtime Gene Wolfe aficionado, I was not deterred by these warnings. As it turns out, Wolfe and Delany share much in both theme and literary allusions. I will not belabor this point, but the short of it is that both authors ponder the divide between the subjective and the objective. They have also both read their Ovid. Of course, they have little in common politically.

One reason I took my time reading Dhalgren was that it has a trait in common with modern literary fiction: nothing much happens. There is action, more than in a DeLillo novel at least, but the plot is autophagic. There is no linear progression. Dhalgren is a character-driven novel. Its setting is one of these characters; the text is another.

The blurb on my paperback copy tells me that this story takes place “at the end of time,” and alludes to it being post-apocalyptic. I wonder if the copywriter read the same book. Even a liberal interpretation of this explanation is unsatisfactory.

Essentially, Dhalgren is a metatextual story told partially from the point-of-view of one nameless partial-amnesiac. Identity, perception, and text are unstable — according to post-structural theory. Here time and space are likewise fractured. If you would like an objective explanation for this, you will have to supply it yourself. The novel makes no claims. I hesitate to call it science fiction as little science occupies its exposition. The work is more reminiscent of Borges and Barthelme than Asimov and Heinlein.

I want to leave you, my reader, with more than the typical Dhalgren review. I could describe the various metatextual intricacies and allusions, but these are literary gymnastics. I could discuss Kid’s diatribes on the relationship between signifier and signified. This is elementary postmodern philosophy. What resonated with me was the protagonist, Kid. His struggles with his poetry and his other insecurities spoke to me in a way I would be uncomfortable explaining. This alone warranted my reading.

My recommendation: there are sections of Dhalgren so dense with fifty-dollar words that it sent me, a cultivator of words weird and wonderful, to the dictionary once a page. If that sounds like a book you would enjoy, then you should add this speculative fiction classic to

We Who Are About To… by Joanna Russ

Not Zombie Michael Jackson

I am ashamed to admit I was unfamiliar with Russ’s work before her death earlier this year. After reading several lauding retrospectives of her career, I began to seek out her work. Her connection to a certain academic journal clinched my interest. What follows is a review that does not benefit from an abundance of knowledge about the author.

Joanna Russ’s We Who are About To… is not merely a feminist book. I doubt Russ would have been an effective writer if she had written so narrowly. WWAAT could have been sold as a mainstream novel, though setting it on a distant planet does make for some poetic phrases and underscores the novel’s themes; this is a castaway book.

This novel does not have clear heroes and villains. Always there are questions, the heart of philosophy. The narrator believes her actions are justified, except when she doesn’t. She doubts her own sanity. We have only her record of the events, and she definitely loses her mind. A good chunk of the book is devoted to her downward spiral.

The narrator, never named, is a musicologist, one of several passengers on a pleasure cruise that has a bit of an accident. These passengers crash on an uncolonized planet. It appears hospitable, but they have little in the way of supplies and little hope of rescue. Hope is a theme here. The other castaways have hope or at least pretend to. Our narrator is the only holdout for cynicism or realism. Russ herself alludes to the myth of Cassandra, and our narrator is considered insane by the other castaways. My book’s cover depicts her as a bit more than conventionally crazed, however.

Genre book covers often bely hilarious misconceptions and tight deadlines for their artists. One day I’ll write a post about the cover of Wolfe’s Return to the Whorl. This cover of WWAAT is hard to classify. It takes liberties in its interpretation, and I am wary of giving the artist too much credit. It depicts a white-haired witch astride a hoverbike hurtling through space. There is such a bike in the book – called a “broomstick” – though it is incapable of space travel for obvious reasons. The main character does not resemble her caricature in the least though you could make a case for the metaphor.

WWAAT’s narrator is a radical and expert in secret knowledge, particularly pharmaceuticals, essentially herbs. She is capable of using these in the manner of the Biblical “witch” or “chasaph,” a poisoner, though many of her drugs have medicinal uses as well. She has the power of Shiva, creator and destroyer.

Keeping with the theme of supernatural outsider, she is identified with a splinter religious faith. In an interesting twist, this is Christianity or a form of it. Ostensibly, this future is free of religion, though the characters seem to have embraced consumerism more than physicalism. A strictly feminist reading of the novel would suggest the narrator is marked an outsider due to her feminine nature, but this story is, among other things, a study of gender dynamics.

I recommend We Who Are About To… to anyone who is interested in idea novels, especially feminism and gender studies. It is short enough that the tangents and long sections of inactivity will not be too much of a burden to those readers with short attention spans, though there is some excess. In any case, science fiction novels about gender stereotypes are not a dime a dozen.

Heart of Darkness by Joseph Conrad

Heart of Darkness

In the tradition of small title BIG ATTRIBUTION

Conrad’s tale of African adventure has remained one of the most popular books in the English-speaking world for more than a century. Scholars with more letters after their names than me have tackled this novella. I’m not convinced by most of the scholarship. In the traditional camp, you have the psychological analysis. Marlow drives his yawl deep into Africa and finds that civilization is a convenient fiction, that man is savage at heart. This is not a piece of knowledge the novel could have taught me. I had to experience it, see it in myself. Neither am I swayed by the colonial interpretation. My white guilt is meager, though this is a worthy way to read the book.

What interests me about the book is in how it bothers me. Marlow bothers me, specifically his choice to keep the truth from a mourning young woman. In the book’s final scene, he chooses to lie and cover up what he experienced, all in the name of the woman’s feelings. Though it appears mawkish, there is the undeniable chauvinism in treating her like a child. I also suspect a touch of the libido’s effect. The only question is whether he acts out of a sense of duty. Perhaps he feels shame for his gender or species.

Whatever his reasons, he dooms the woman to a life of dedication to an idea, the idea of a man who never existed. It is a selfish act, the effect of his own manners, his civilization. A moment of cruelty would have been better for her, and Marlow would at least have been a man of principles.

To the Wasp Slowly Dying

To the wasp slowly dying of injuries sustained in my apartment:

I’m sorry I smashed your thorax with a copy of the D&D Players Manual. I know that before I just shooed wasps out the door, but there are only so many times I can indulge you guys before it becomes unfair to me.

Also, my wife was afraid you’d sting her. I wasn’t afraid for myself, you see. I’ve been stung before, but it wasn’t so bad. I’m also sorry that I don’t put you out of your misery. I’m not afraid of you; I don’t want to dishonor your warrior’s spirit.

Apparently, my wife just killed you. She does not understand the heart of the warrior. I’m sorry for the shame she has put upon you and your nest. Rest in peast, chitinous little samurai.

Regards,

A Friend

Life Experience

I am still not an asshole — at least not the right kind. Like many would-be writers, I have read an astounding amount of text devoted to advice intended for this demographic. This is one of our favorite past times, much more beloved than writing itself and second only to video games. One piece of advice comes up again and again. I’m talking about life experience.

Before you ask, I already checked, and this has nothing to do with defeating bugbears with crossbows. Many would-be writers have spent years searching for this nebulous quantity. Some wouldn’t consider you a writer unless you have it, but few would be able to provide even a vague definition. It seems to require a fair amount of menial labor and drinking during a peripatetic period. I could provide a fair number of counter-examples, writers whose experience was largely limited to the breadth and depth of their cyclopean minds. The would-be writer, naturally, already knows them, so I won’t bother.

A practical definition, or rationale, for life experience would be to garner material for one’s stories. Using the details of one’s private life as fodder for fiction has led to many raconteurs becoming estranged from their social circles. Perhaps they lacked the skill or the foresight to sufficiently alter their anecdotes. In any case, this seems an insufficient explanation.

The best I’ve come up with is that life experience is what makes us write. The writing may resemble the experience, but it is the stuff itself that drives us rather than some Romantic spark. I must be thinking egocentrically here because the notion I’m getting at is rather existential, or perhaps more correctly absurdist. To make the point more poetically, it is the cleated foot of life on our backs that forces out the ink. We suffer. I say suffer because I can’t think of anyone who would do this because they were content or even intellectually fulfilled. Books written by happy, well-adjusted people tend to have as much depth as a bathtub. Writing is an act of the reptile brain, a reciprocal response to the crap of the world, to life experience.

How to Spell Writer

A while back, I was chatting with a friend of mine, a writer, and we were discussing, naturally enough, writing. There was a little commiseration involved, and, again naturally enough, the topic of frequency came up. I have read from established writers that the real secret is simply in the writing itself. Writing every day; not workshops, not fine arts degrees from low-residency programs, not tutelage by a Great American Novelist, not even study of the masters.  Writing is the quintessential ingredient.

My friend had this to say: “People who write every day are assholes.” Now, we had a good chuckle about that, and it was true enough. It is also true that people who write every day are writers.

Now, I have been called an asshole many times. I’ve also been called a dick, a jerk, and a bastard. At least one of those is accurate. I can’t say, however, that I’ve ever managed to keep up a regular writing habit. This wasn’t an attempt at the Romantic ideal of living the life of the artist and writing comparatively little — that’s always been a con anyway. Whatever the reason, the truth is that I haven’t been busting my ass day in and day out. I’ve studied, I’ve honed my craft, I’ve practiced. I haven’t done enough.

I’ve gotten to the point in my professional development that I am an editor, managing submissions for publication. I find it preposterous that I am judging fiction while I am still too cowardly to send out my own.

I guess I’m just going to have to become an asshole.

Programmed: A Review of Zombie Spaceship Wasteland

book cover

Check One

When children say something perspicacious, we pat them on the head and think “out of the mouths of babes.” We discuss the uncanny way they look at the world, what they see and what we’ve forgotten. What’s happening here is that children — humans as intelligent, if not more so, than adults — are reacting to either the physical world or the social reality with fresh eyes. They have not been informed of the “correct” thoughts. They are not programmed. For example, they understand Pavlov without being told about salivating dogs addicted to decibels. We are each trained to pursue the pat on the head, the gold star, the job well done, to equate social rewards and encouragement with love.

This is one of the insights Oswalt delivers (much more eloquently and briefly and not as pedantically as I just have) in Zombie Spaceship Wasteland: A Book by Patton Oswalt, his comedy-memoir. read more »

Under the Red Hood

No, this isn’t that new Amanda Seyfried Company of Wolves knock-off. It’s a Batman movie. I’ll try to keep this spoiler free. Batman: Under the Red Hood desperately wants to be Mask of the Phantasm.

read more »

Another Bloggy Post

Imagine you’re a child going to a birthday party with your friends; one of you think the cake is made of concrete. No. Imagine a house with many rooms, and in each room is a velociraptor. Wait. Let me start again. Every book is like a mystical land to a different world, but the same book goes to different worlds depending on the reader. Because magic. Oh, forget this. read more »

My Aladdin Thermos is Blue — No Joke

Researching Pandora, re-reading Pandora, ratiocinating about Pandora — I’ve had it up to here with Gene Wolfe in general. I missed an exam today because I had forgotten the day. I had been — you guessed it — researching. As for the quality of my scholarship, this may be the wrong track. Looking over Wright, I may have fallen into a trap of symbolism. The whole Orphic issue took hours  due to my poor Greek. I should remember I’m not a real etymologist. I just have two semesters of Latin (and  forgotten most of it) and 3/4 of a semester on Greek and Latin roots. Perhaps I should enlist the aid of a more erudite student.