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Friday, November 1, 2019

Two strong strange stories from In Ghostly Company by Amyas Northcote



The reader of strange stories in this day and age doesn't know how good they have it. There are enough classics in print that we can go a lifetime and never need to read a living writer. (James, Machen, and Blackwood each wrote at least a dozen masterpieces. So did Poe and Bierce.)

Of course not all dead writers in the genre are classic. Amyas Northcote is a good example. Most of the stories in his lone collection, In Ghostly Company, are pretty basic nurses' or travelers' tales; Matt Cowan does an outstanding job exploring them here.

But there are two outstanding exceptions which shine out as exceptional in Northcote's collection, "Brickett Bottom" and "The Late Mrs. Fowke".

"Brickett Bottom" is the story of a young lady's disappearance. All anyone knows is what she told them: that she found a house in Brickett Botton where a charming older couple live. 

...."But surely you must have seen it at some other time," said her father.

"That is the strangest part of the whole affair," answered Maggie. "We have often walked up the Bottom, but I never noticed the house, nor had Alice till that evening. I wonder," she went on after a short pause, "if it would not be well to ask Smith to harness the pony and drive over to bring her back. I am not happy about her—I am afraid—"

"Afraid of what?" said her father in the irritated voice of a man who is growing frightened. "What can have gone wrong in this quiet place? Still, I'll send Smith over for her."

So saying he rose from his chair and sought out Smith, the rather dull-witted gardener-groom attached to Mr. Roberts' service.

"Smith," he said, "I want you to harness the pony at once and go over to Colonel Paxton's in Brickett Bottom and bring Miss Maydew home."

The man stared at him.

"Go where, sir?" he said.

Mr. Maydew repeated the order and the man, still staring stupidly, answered: "I never heard of Colonel Paxton, sir. I don't know what house you mean." Mr. Maydew was now growing really anxious.

"Well, harness the pony at once," he said; and going back to Maggie he told her of what he called Smith's stupidity, and asked her if she felt that her ankle would be strong enough to permit her to go with him and Smith to the Bottom to point out the house.

Maggie agreed readily and in a few minutes the party started off. Brickett Bottom, although not more than three-quarters of a mile away over the Downs, was at least three miles by road; and as it was nearly six o'clock before Mr. Maydew left the Vicarage, and the pony was old and slow, it was getting late before the entrance to Brickett Bottom was reached. Turning into the lane the cart proceeded slowly up the Bottom, Mr. Maydew and Maggie looking anxiously from side to side, whilst Smith drove stolidly on looking neither to the right nor left.

"Where is the house?" said Mr. Maydew presently.

"At the bend of the road," answered Maggie, her heart sickening as she looked out through the failing light to see the trees stretching their ranks in unbroken formation along it. The cart reached the bend. "It should be here," whispered Maggie.

They pulled up. Just in front of them the road bent to the right round a tongue of land, which, unlike the rest of the right hand side of the road, was free from trees and was covered only by rough grass and stray bushes. A closer inspection disclosed evident signs of terraces having once been formed on it, but of a house there was no trace.

"Is this the place?" said Mr. Maydew in a low voice.

Maggie nodded.

"But there is no house here," said her father. "What does it all mean? Are you sure of yourself, Maggie? Where is Alice?"

Before Maggie could answer a voice was heard calling "Father! Maggie!" The sound of the voice was thin and high and, paradoxically, it sounded both very near and yet as if it came from some infinite distance. The cry was thrice repeated and then silence fell. Mr. Maydew and Maggie stared at each other.

"That was Alice's voice," said Mr. Maydew huskily, "she is near and in trouble, and is calling us. Which way did you think it came from, Smith?" he added, turning to the gardener.

"I didn't hear anybody calling," said the man. "Nonsense!" answered Mr. Maydew.

And then he and Maggie both began to call "Alice. Alice. Where are you?" There was no reply and Mr. Maydew sprang from the cart, at the same time bidding Smith to hand the reins to Maggie and come and search for the missing girl. Smith obeyed him and both men, scrambling up the turfy bit of ground, began to search and call through the neighbouring wood. They heard and saw nothing, however, and after an agonised search Mr. Maydew ran down to the cart and begged Maggie to drive on to Blaise's Farm for help leaving himself and Smith to continue the search. Maggie followed her father's instructions and was fortunate enough to find Mr. Rumbold, the farmer, his two sons and a couple of labourers just returning from the harvest field. She explained what had happened, and the farmer and his men promptly volunteered to form a search party, though Maggie, in spite of her anxiety, noticed a queer expression on Mr. Rumbold's face as she told him her talc.

The party, provided with lanterns, now went down the Bottom, joined Mr. Maydew and Smith and made an exhaustive but absolutely fruitless search of the woods near the bend of the road. No trace of the missing girl was to be found, and after a long and anxious time the search was abandoned, one of the young Rumbolds volunteering to ride into the nearest town and notify the police.

Maggie, though with little hope in her own heart, endeavoured to cheer her father on their homeward way with the idea that Alice might have returned to Overbury over the Downs whilst they were going by road to the Bottom, and that she had seen them and called to them in jest when they were opposite the tongue of land.

However, when they reached home there was no Alice and, though the next day the search was resumed and full inquiries were instituted by the police, all was to no purpose. No trace of Alice was ever found, the last human being that saw her having been an old woman, who had met her going down the path into the Bottom on the afternoon of her disappearance, and who described her as smiling but looking "queerlike."

This is the end of the story, but the following may throw some light upon it....





The other story, "The Late Mrs. Fowke," will strike a chord with those who appreciate Arthur Machen.

Mr. Fowke, a gentle and passive Anglican minister, marries Stella Farnleigh.

....The young lady showed herself of an obliging disposition in the arrangements made prior to the wedding, her only stipulation being that Mr. Fowke should change his present living for one nearer the moors. In accordance with this Mr. Fowke negotiated an exchange with the Vicar of G., and after a short honeymoon took possession of his new cure. Here he settled down to what he anticipated would prove a peaceful and happy life. He was devoted to his new wife, and she, while less demonstratively happy, appeared to be contented both with her husband and her new surroundings.

The first flaw in their married life showed itself a few months after their arrival at G., when one day, Mr. Fowke, having occasion to speak to his wife, went upstairs to the room which she had selected as her private sitting-room and in which she had installed her voluminous library. On reaching it he heard from within a sound of low chanting in a language that he did not understand, and at the same time became aware of a singular smell as of the burning of some aromatic herb. He tried the door and, finding it locked, called to his wife. The chanting ceased immediately and his wife's voice told him to wait a few minutes and she would admit him. On the door being opened he found the room filled with a pungent smell emanating from some herbs, which were burning in a small brazier set upon the table.

"Whatever are you doing, my dear?" he asked.

Stella replied that she was suffering from a severe headache, which she was trying to cure by inhaling the smoke; it was an Hungarian remedy, she added, but she did not explain the singing. Mr. Fowke remained somewhat puzzled, and his astonishment was considerably increased when a little later his wife informed him that she intended to go to L.—a tiny hamlet far up on the Fells—that afternoon and would spend the night there, returning the following day. It was the first time that Mr. Fowke had heard of Stella's solitary visits to the moorland and he not unnaturally sought an explanation of them, which his wife refused to give in any greater detail than the mere statement that she had for long been accustomed to make these periodical trips into solitude. He asked to be allowed to accompany her, but she positively refused to permit this, and it was with a heavy and worried heart that he watched her leave the house later in the day.

The following afternoon she returned, tired and with muddy clothes, but seeming exhilarated by her expedition. She refused all information about it, save that during these trips she was in the habit of staying at the Three Magpies, a small inn at I. and making thence expeditions on the higher Fells. With this slender explanation Mr. Fowke had to be satisfied.

A few weeks passed, when again one day Mr. Fowke detected the odour of burning herbs and again learnt that his wife was on the point of starting for I. She again declined his proffered company and left the house as before.

Mr. Fowke had never been to I., which is a remote hamlet, not distant as far as mileage is concerned from G., but only approachable by a branch line of railway with an infrequent service of trains. He was, however, acquainted with its Vicar, to whom he presently wrote to inquire as to the standing of the Three Magpies, since he was not over-pleased that his wife, a foreigner ignorant of our ways, should elect to stay alone at an absolutely unknown inn. The reply he received was not at all reassuring, for the Vicar of I. wrote that the Three Magpies was a public house of poor repute, kept by an old couple of more than doubtful respectability.

This letter decided Mr. Fowke and, when for the third time his wife announced her intention of proceeding to I. and for the third time refused his company, he determined to follow her there secretly and observe her movements and surroundings. It was not difficult for him to arrange to do this, since he could easily reach I. on his motor-cycle long before her slow train could land her there, even if he did not start until after she had left the parsonage. He carried out his programme and in due course reached I. and made his way to the Three Magpies. Here he found that the old man was very nearly bedridden and quite senile, whilst his wife regarded her clerical visitor with almost open hostility. However, the gift of a sovereign and the promise of another effected a great change and unlocked the old woman's tongue, so that she poured forth volubly all she knew.

Yes, she knew the lady quite well. She had been in the habit of coming to I. once every few weeks for a long time. No; she always came alone and had never spoken to anyone except herself, to her knowledge.

"What does she do?"

"Oh, she always goes straight up to her room and shuts herself in, then she sings to herself something I cannot make out and burns something that smells sweet and strong about dark like, sometimes sooner, sometimes later, she comes down and goes out towards the Fells."

"Have you ever followed her?"

"No, never, nor anybody else as I know of. A shepherd once saw her walking all alone in a wild part of the moor but he did not follow her or speak to her."

"How long is she out?"

"Well, that depends, but generally till near morning. She takes the key of the house with her and lets herself in, but I hear her come in once in a while."

"What does she do then?"

"Why, goes up to her room and stays there quietly and has breakfast and then goes to the train."

This was about all that Mr. Fowke could find out, except the curious detail that his wife never wore a hat on her nocturnal rambles, but went draped in a hooded grey cloak.

By the time this catechism was finished it was nearly time for Mrs. Fowke to arrive, and the Reverend Barnabas accordingly ensconced himself in a room into which he was ushered by the old woman, which commanded the front door of the inn. In a short time he saw his wife arrive. After exchanging a few words with the old woman she went upstairs, and husband and wife remained in their respective seclusions till dusk fell.

Then Mr. Fowke heard Stella descending the stairs and in a few moments he saw her emerge from the house clad, as described, in a long hooded grey cloak, and walking swiftly and resolutely. Giving her a short start, he followed, and as he left the inn the well-known smell of burning, aromatic herbs was in his nostrils. His wife was by now a few hundred yards away and had nearly cleared the little hamlet, heading for the open moor. As she proceeded a singular episode occurred. Mr. Fowke thought little of it at the time, but much, later.

A sheep-dog was lying asleep by the roadside and as Mrs. Fowke drew near it suddenly started up and, with back upraised and tail depressed, uttered a melancholy howl and darted through the hedge.

Mrs. Fowke paid not the least attention to the dog, but pursued her way steadily through the rapidly falling dusk. Her husband followed as steadily, and thus for a long time they wound their way upwards towards the loneliest and wildest part of the Fells. It was by now night, but the moon had risen and flooded the landscape with her rays. The couple, one about two hundred yards behind the other, were now mounting the side of a steep hill, and hitherto Mr. Fowke had remained in the pleasant belief that his presence was unsuspected by his wife. He was to be undeceived. The lady passed round a corner of the hill, thereby disappearing from sight; Mr. Fowke hastened after her and on passing the corner in his turn found himself confronted by his wife, who stood watching for his appearance with a sarcastic smile. She greeted him:

"Well, Mr. Spy, are you very much puzzled?"

He remained silent, dumb with astonishment and chagrin, and she went on:

"I have been wondering what to do with you ever since you left home, but I have decided at last. You shall see all there is to see; I don't think you can do any harm and you may be useful by and by. Follow me." And she turned and went on again.

Mr. Fowke followed silently and abashed. Presently he became aware of a rosy light shining in front of them, and after walking a few yards more he found himself standing by the side of his wife on the edge of a small, cup-shaped hollow in the hills. In the centre of this hollow a large fire was burning and near the fire Mr. Fowke could make out a pile of stones shaped like a rough altar. A group of about half a dozen people, all clad in the same grey, hooded cloaks, were sitting silently near the fire; and towards these his wife now began to descend, first telling him in a low, imperious voice to stay where he was. As Stella advanced down the declivity the group by the fire became aware of her approach and, rising, moved to meet her with gestures of greeting and respect. Stella passed through them, haughtily returning their salutations and slowly ascending the stone altar seated herself on a rock near its summit. As soon as she had taken up her position, she gave a signal, and the others forming round the fire commenced a slow and stately dance to the accompaniment of their own low chanting.

Mr. Fowke watched absorbed. Gradually the dance grew quicker and wilder and the chanting louder, the whirling forms flung themselves into grotesque attitudes and shrieked ejaculations, the meaning of which Mr. Fowke began dimly to divine though the words were strange. Suddenly they were silent and still and at the same moment Stella rose from her seat and, throwing back her hood and turning towards the summit of the altar, began in her turn to take up the chant. As she sang and bowed towards the topmost stone, her face and figure seemed transformed. In the flickering firelight and pale moonshine she seemed to grow weirdly and horribly beautiful and to grow statelier and taller in her person. Slowly, too, as the song progressed the horrified watcher saw another change. A grey cloud formed on the summit of the altar, diminishing, thickening and turning into a Shape, a Shape of evil and fear. The silent group by the fire once more broke forth into wild gesticulations and cries, Stella prostrated herself, the Form on the altar grew clearer and with a cry of horror Mr. Fowke turned away and rushed madly across the moor.

He never knew where he went or what he did. When he once more recovered his senses it was broad day and he was alone and lost on the moors. It was late afternoon before, broken and exhausted, he reached his own home, where the first person to greet him was his wife....

Fowke tries prayer to save Stella's soul.

"How dare you interfere with us," she began, "with your paltry little prayers and tears? You disturbed us last night. The Great One was angry—" She stopped and then went on, "I shall have to find a means of silencing you; it was a mistake to show you what I did."

He looked at her.

"So it is not too late, is it?" he said. "I can perhaps save you and drag you away from—" She interrupted him.

"Silence," she cried violently, "or I will take steps to quiet you; I will blast you; I will call upon the Powers of the Air. I will—" she was going on madly in her excitement when suddenly she became rigid, her face blanched and she fell senseless to the floor in a fit.

Mr. Fowke raised the prostrate body, laid it on a sofa and summoned help. The unfortunate woman was carried to her bedroom, still unconscious, and the doctor sent for. He was an ordinary country practitioner and the case seemed to be clearly beyond his powers to deal with, but he emphasized the need of a trained nurse; and, one being fortunately available in the village, she was presently duly installed at the Parsonage.

After having seen all done that was possible, Mr. Fowke, utterly worn out, retired to rest. Towards midnight he was awakened by a knocking at his door and opening it found the nurse pale and trembling on the threshold. She instantly assured him that she must throw up the case and leave the house at once. She could or would give no clear reasons for her action, but repeated again and again that she would sacrifice her whole professional career rather than remain in that sick room. Things had happened there, she said, things she could not tell of, but the place was accursed. In vain Mr. Fowke tried to reassure her; she would not remain and so, bidding her go to her room till morning without disturbing the household, Mr. Fowke went to his wife's room to take up the vigil himself.

When he entered the sick room all was still. Stella was lying motionless, breathing gently and at intervals murmuring a few words in her native tongue. Mr. Fowke settled himself down in an arm-chair and gradually fell into a doze.

He woke suddenly as the clock struck three and glanced around him. The lamp had burnt low and the room was very cold. His wife still lay quietly in her bed, muttering softly to herself, but as Mr. Fowke watched her, by the dim light, he fancied he noticed a horrible change in her. Gone were the full rounded outlines of a woman's form, the figure on the bed had become angular and misshaped. Her hand and arm, which lay outside the coverlet, were also changed and looked like a claw. Her face, too, was changing. As he watched, her beauty faded, the features altered, they ran together, became distorted, misplaced and, with a shudder, he found himself gazing on the lineaments of an unknown, hideous beast. Paralysed with horror he could not stir.

All at once there was a movement. The figure on the bed shivered violently, lifted itself up and sat gazing out beyond the foot of the bed. Mr. Fowke followed the direction of its eyes and saw growing up slowly at the end of the room a grey, shapeless form, of which the burning eyes alone were distinct.

The creature on the bed moved and slipping back the bedclothes stepped suddenly to the floor. Mr. Fowke saw that the lower limbs and, in fact, every part of it save the face that he could see were covered with a thick, grey fur. It moved again and passed swiftly across the room towards the grim shape in the corner; he heard its hoofs tap on the bare floor as it passed. It reached the motionless watcher, whose eyes seemed to blaze as it approached, and with a swift movement the two forms met, intermingled and—Mr. Fowke could bear no more; he fainted....

The dissolution of Stella recalls even more graphic collapses in Machen's "The Great God Pan" and Michael Arlen's novel Hell! Said the Duchess.

Jay
22 September 2019








A surgery of the fall: SCORES: REVIEWS 1993-2003 by JOHN CLUTE


SCORES: REVIEWS 1993-2003 by JOHN CLUTE

This is a thick book with lots of book reviews. Clute's vocabulary and stylistic body English is by turns illuminating and repetitive: he has several operating assumptions, but there are only so many ways to rephrase them while bookchatting.


"What I Did on My Summer Vacation"
....Who are we writing what about when to whom and where?

A model of some sort of initial answer came to me a while back, in 1986, sitting in a veranda under the procreative radium winds of fallen Florida; an early version of this thought appeared in the introduction I was then composing to my first collection of essays and reviews, Strokes: Essays and Reviews, 1966-1986 (Seattle: Serconia Press, 1988).

When I try to model the creative process [As I said in 1986, and think now, in terms only slightly modified from those I used then. 2003], I often find myself coming back to Georges Simenon (1903-1989) who, in a career that began in 1920 or earlier and ended only shortly before his death, published way more than 1000 stories (no one has yet established just how many), about 500 novels (a rough total which includes an undetermined number of pseudonymous titles written in the 1920s), and a dozen or so volumes of memoirs which appeared after 1972, when he stopped writing fiction. Over and above its delirious fecundity, what has always seemed most interesting about Simenon's career lies in a distinction he made, after he started using his real name around 1930, between two kinds of novel he specialized in for the rest of his career – two kinds of writing which engaged him in two varieties of the creative act. The first category of novel, the sort he is most famous for, included the 80 or so books which feature Inspector Maigret; the second category comprised the 100 or so non-Maigret novels, which he always published under his own name after 1930 or so. It was these novels he was most proud of.

Most of the non-Maigret tales follow a similar pattern. We open the book and immediately enter the protagonist's mind; there is never more than one point-of-view in a Simenon novel, and that point-of-view is never omniscient: from the get-go, we are looking through the eyes of the prisoner of the book. This protagonist is caught at a life-summing point of frozen stress. The story begins. Everything stokes the stress. Then something external, or something that wells up within the protagonist, breaks the seemingly unending moment of uttermost stress, and he breaks or does not break; melts or does not melt; murders (or fails to murder) his wife or mistress or boss; flees or fails to flee. The novel (the simenon) then ends, often in a state of chaos or slingshot into nada: for the world when deranged, the psyche when liberated of the bondage of its life, crosses a borderline into the unknown, where habits no longer work, and reality, for an instant, may just possibly be seen entire, unendurable, profound and cold.

The Maigrets are completely different. We begin in chaos, in the aftermath of some terrible breakdown in consensual reality. We begin just after a "real" simenon ends. The Humpty Dumpty of the skull we row, upstream, against the dark, has fallen. A murder has almost always been committed. Maigret appears, for he is always subsequent to the fall. He senses the chaos and incompletion of the world, and within him something begins to knit back the raveled sleave of things that he has encountered raw. He finds (and in the act of finding he forgives) the murderer. Slowly, intuitively, implacably, he puts it all together again. At the end of the novel he leaves the world like an egg (to quote one of Philip Larkin's most extraordinary poems) unbroken.

For me, the process of writing a work of fiction can conveniently be modeled in terms of the rage for chaos exemplified by Georges Simenon's non-Maigret novels, which he always inscribed at great speed as though – like the characters portrayed within – he was walking the plank at a run. He would settle upon a character, and a place, and the nature of the bondage to be shattered; beyond that, nothing. If his character failed him, or if he failed to find a story to ride across the borderline, he would tumble off the plank. The novel would remain unfinished (none ever took more than a week or so to write), the protagonist would remain in prison, and the world unthreatened. Humpty Dumpty would never walk the plank off the wall, never reach the pavement to break out. The image of creation as walking the plank also draws on Morse Peckham's Man's Rage for Chaos (1965), where art is understood as that which threatens the prisons of order our human nature imposes on [that word again] raw haecceity.

So writing a novel is fall and suture.

On the other hand, the art of criticism is the art of Maigret: it is an art of reconstitution, but also of closure; for in the critic, as in Maigret, there is a rage for order. Accusations that the critic is inherently parasitical have always seemed to me fatally digressive. Both the rage for chaos and the rage for order, though one may be higher than the other and shake the world more profoundly, are impulses of the creative spirit; and it is in this sense that I feel, when I am acting as a critic, that I am acting as a kind of creator.

So writing criticism is a surgery of the fall....

....Creative writers, of course, might be inclined to think that high-flown mixed-metaphor talk like this (viz above) is nothing but squid ink designed to deflect attention from the fact that criticism of the sort I'm describing is a digression from the kind of criticism most writers think critics should concentrate on, a task which might be defined as gospel singing. For many creative writers, genuinely attentive criticism is akin to murder. Stick to the Good News, they say. Annunciate the name of the book and scram....

....The act of reading is precisely surgery. Reading retells what is read. Reading is opening the book. It must feel almost like death to be opened like that. Still, there is a gap. No matter how closely book reviewers may feel they approach the fire, there is ultimately no magic. The present is an asymptote, which the scalpel never quite reaches. The True Name of things is Boojum.

....the vast backward and abysm of our daily lives only makes sense when it is constantly reforged in the burn of that asymptote.



*   * *


"poshlust" 

….Vladimir Nabokov's inspired englishing of the Russian poshlost, a term of wide application, but which here can be used roughly to define the ersatz style and thought patterns of the unlettered (that is, most of us) who purchase – and who relentlessly misquote – culture they cannot themselves generate.








Jay
7 October 2019




The Jaw is open. May it close on meat: STROKES: essays and reviews 1966-1986 by John Clute



STROKES: essays and reviews 1966-1986 by John Clute


Forward//
....the art of writing criticism is the art of Maigret: it is an art of reconstitution, but also of closure; for in the critic, as for Maigret, there is a rage for order. Both the rage for chaos and the rage for order, though one may be higher than the other and more profound, are impulses of the creative spirit; and it is in this sense that I feel, when I am acting as a critic, that I am acting as a kind of creator. Accusations that the critic is inherently parasitical have always seemed fatuously self-serving to me, and it is with the countervailing sense that the critical act is a form of shaping....

3//FSF2//Barr/Harrison/Rossiter/Simak/Reynolds
....a deep appeal of the Golden Age, as of space opera, lies in the Lure of Homology: in the identity of self and world.

....the novel of mimesis died in 1914

....most significant non-generic fiction today deals in some way with that mutual opacity (or alienation) between self and world which killed off verisimilitude as a goal for adults, the only place mimesis still can be found au naturel being bestseller or roman-a-clef porn, where it lies bareassed.

....most generic fiction, whether written or filmed, seems to have taken over a job handled by the novel for 150 years: the acting out of the dream of mimesis that self and world are mutually comprehensible: the creation of a world whose fundament is visible, mainly through the actions of the kinetic hero (me) who wraps things up.

....our nostalgic intuition that the universe, now transparent through the sesame of the unravelled plot, is precisely the very same thing as that discovered self of his. This is the Lure of Homology.

....Enlightenment belief that energy is available.


4//FSF3//Haiblum/Boyd/Eklund and Anderson/Ellison
....At the very minimum, science fiction books should wear a style that resembles newspaper copy in its transparency to content; ideally, science fiction, like other forms of literature, should work towards a consciousness of the ultimate unity of form and content, a consciousness we on our side, as readers, do our best to tune out when we're trying to surrender ourselves to baroque, highly machined stories....

....Van Vogt Yaw being what happens when short stories are tossed into a novel and get seasick


6//FSF5//Varley/Hoyle/Van Scyoc/Ashley/Disch and Naylor
....No book whose argument assimilates progress with mastery over aliens can be really set after the Viet Nam War 

....Varley's characters are deeply competent with the world they know. And if Heinlein's Future History is a series of rewritings of 1935, and shocking at the time for fingering the inner bone so close, then Varley's deracinated urban exile from irrecoverable roots reflects the 1970s through the dance of clichés of genre

7//FSF6//Delany/Yarbro/McIntyre/Dozois
....The Jewel-Hinged Jaw: Notes of the Language of Science Fiction (Berkley, 1978)
....clotted preciocity of his prose, the phrase quoted above being entirely typical of its uneasy condescension and agglutinative gumminess....
....the Rube Goldberg unworkableness of much of the writing in this book
....after you wipe the gouache out of your eyes there's nothing left but unbalanced and indecipherable assertion
....I will reiterate a confession. I have spent all this time in the bilgewater because I don't know how to describe the ship. All I can say is that some idiot savant has had this craft on the rocks somewhere, because the bilge is rising.
....The Jaw is open. May it close on meat.


9//FSF8//Reed/Schochet and Silbersack/Killough/ Benford and Rotsler/Malzberg
....If the world were Disneyland, who then could doubt the existence of God?

....Disneyland itself has become an honored part of the American nightmare of self-analysis, an immediately recognizeable emblem of a savage future in which we discover ourselves to be cartoon consumers locked into a sanitary totalitarian plastic tapeloop, our every move monitored, our every impulse predetermined by the invisible spider god.

....post-industrial quietism currently infusing modern youth's bosom with repressively-desublimated Orexis Rot, and the same signification must surely apply to those weenybopper theosophies more recently woven, with dank cabbalistic bootlicking and Art Nouveau cartoons....


13//NW2//James Blish
....post-industrial quietism currently infusing modern youth's bosom with repressively-desublimated Orexis Rot, and the same signification must surely apply to those weenybopper theosophies more recently woven, with dank cabbalistic bootlicking and Art Nouveau cartoons

....metonymy con ....a rhetoric of personalized response and simplified gesture will substitute for any attempt at rendering the complex (or expensive) action.

....traditional novel, as hypostasized by the triune hierophants, is in fact a roman — warm, plastic, representational, seamless, lacking any coarse " 'holes' in the fabric of time," as Dr Hernadi goes on to say — and that fictions in the recit idiom will read as being chilly, didactic, presentational, disjunctive, full of arbitrary lacunae in the quilt of space, will read in other words as deficient romans, and will be assigned to the charnel where Procrustes dumps his legs.

....Nabokov's Pale Fire (1962) is a "novel" whose tonal idiom might well be rendered as genuine recit pretending to be a fake recit pretending to be closet roman.

....maugre science fiction's general devotion to a shrill, streamlined mimetic parlance.

....the pointing of a lesson through exemplary catastrophes, exemplary discourse, through exemplary characters and diction and mise en scene 

...Menippean satire [says Professor Frye] deals less with people as such than with mental attitudes. Pedants, bigots, cranks … rapacious and incompetent professional men of all kinds, are handled in terms of their occupational approach to life as distinct from their social behaviour. The Menippean satire thus resembles the confession in its ability to handle abstract ideas and theories, and differs from the novel in its characterization, which is stylized rather than naturalistic, and presents people as mouthpieces of the ideas they represent .…

....James Blish, whose recit mind longs for a cold bath of Menippus to shape its grasp, or so we've been claiming. Unfortunately Mr Blish has immersed himself in a field — science fiction — whose generic forms are offspring of the heated iconicity of the romance, as stripped down for action, and his whole crabby yawing corpus demonstrates the cost of writing against the grain

....thematically naive topoi are being required — disingenuously — to illustrate far more than they could possibly mean to

....equipoise of assertion not narrative

....As a Menippean illustration of the hypothesis that black magic literally works, Black Easter (1968), one of the books this is all in aid of a review of, might seem altogether stripped to its skeleton, but in the event the emperor is dressed. Characters and plot are so closely and economically bound to their task of demonstration, and the narrative is so elegantly short, that there is a kind of paronomasia — a kind of "blessedness" — and a dystopic thesis laves us in the clothes of fleuve. Its sequel, The Day After Judgement (1970) is a disjointed, cack-handed anticlimax, and de-frissons the death of God in Black Easter by allowing that He might only be on vacation and be putting Satan on His throne pro tem, because Nature abhors a vacuum — which makes it the real shaggy God story. In its use of metonymy cons both of character and of narrative it's as miniaturizingly evasive as VOR; in its generic chuntering about it's as loopy as Titan's Daughter; and in the Malleus Maleficarum misogyny it shares with its predecessor it is thoroughly egregious.

....genres work (human perception works) not only through metonymy, the substitution of part for whole, of set for omniscience dreams, but also through the persistence of the image, time's body English.

....Icons are torsions in time, which heats them, and gives them pull through the work.



18//Robert Aickman/1914-1981
....the finest English writer of supernatural fiction of the past fifty years.

....his fiction is conceived from the other side of heroism

....conceived of his life as bearing anxious witness to the parent/son catastrophe

....the terrible secret meaning of the ghost-ridden world of Aickman's fiction lies precisely in its binding complicity, for by the sign that you fail to understand it (having failed to be glad to meet yourself) the world means what you have become.

....If you have failed to become chivalrous to the knowledge of the approach of death, then you will end up as much a ghost as that which haunts you.

....world may be too jangled for the reader easily to parse.

.....tales of failed transcendence, those stories whose protagonists are compelled by their sense of inward crisis to attempt to change their lives, perhaps utterly.

....hilarious vision of the aesthetic and human costs of living in the heat-death of modern middle-class de-industrialized England

....conviction that appearances are indeed terrifyingly true is manifest throughout the fiction, clearly underpinning the sense (previously argued) that the world, for an Aickman character, means what it says. Limned in a prose whose elaborate mandarin irony barely masks exorbitant disgust

...."I am…" Ruskin says in Praeterita (1886), "a violent Tory of the old school; — Walter Scott's school, that is to say, and Homer's."

....The voice is the voice of a Roman at the end of Empire, Claudianus's perhaps (d408). It is the voice of a man finally unable to direct his consuming rage at our loss of virtue into works of a scope ample enough to express it.

....disintegrate into sour skits, and the unremitting irony of their telling comes close to sanctimony and carping.

....In Mann's only major novel of supernatural import, Doctor Faustus (1947), a repertory not dissimilar to Aickman's undergoes a scouring ironical metamorphosis into an aesthetic shape so encompassing that we can descry within it — without cramping or piety or shortcuts into sarcasm — a full vision of the fate of Western man.

The Late Breakfasters (1964)  ....Firbank and water.

....demonstrate Aickman's intelligence as a craftsman. "The Waiting Room" (1956) adroitly traps a lost traveler in a waiting room built over a burial ground for hanged felons; he awakens with a bad crick in his neck.

....bulk of his canon (as we've said) speaks from the other shore: from the end of Empire and its heroisms.

....though we are left free to doubt — as with so many Aickman characters — that she will ever make a move to save her life.

....many Aickman stories present the failure to achieve an integrated world in terms of attempted transcendental journeys, as though into a better future. In a second broad category, usually signaled by someone's arrival at a meticulously described house, the attempted rescue has already failed by the time the tale begins, and within the house will be discovered an inverse ghost, a mummy, perhaps still breathing.

....As we near the end of Aickman's career, we find that his figures of horrific immobility, whatever their ostensible age or sex, become more profoundly estranged from human kind, more desperately caught into that clockwork of obsessive reiteration which disqualifies them from genuine being and from genuine death (it is remarkable how few of Aickman's trapped protagonists ever actually manage to die); more and more they come to resemble his dreadful father.

...."Meeting Mr Millar" and "Wood,"

....His wife suddenly leaves him for someone real, and the charade of his trivial existence collapses into a succession of unendurable ghostings. The world becomes a deranged and gloating nightmare, in which he must recognize his own shattered being, but from which he cannot escape.

....The most impressive of these stories is probably the superb "Compulsory Games," in which failed transcendence and mummification conjoin in deadly wedlock.

....His wife suddenly leaves him for someone real, and the charade of his trivial existence collapses into a succession of unendurable ghostings. The world becomes a deranged and gloating nightmare, in which he must recognize his own shattered being, but from which he cannot escape.

"The Stains" ....in the inexorable suffusion of staining through this tale, stainings of body and world, we recognize an irreversible and growing consanguinity with death.


19//Gene Wolfe
....stoolpigeon story — the kind of story you can paraphrase and catch the truth of.

....he reminds me just a little (I'm afraid this is going to sound pretty pretentious) of Johann Sebastian Bach. The central fact about Bach is not his originality (for in Romantic terms he was not very original) but his immense comprehensive grasp of the given. As Bach synthesized the Baroque just as it entered heat-death, so Gene Wolfe seems to be attempting to synthesize true stories out of the growing incoherence of our own genre.

....bringing out the internal human circumstances that have always monitored our flights to Mars, however tenuously they were dealt with by overworked "hack" writers trying to feed themselves at a cent a word.

The Book of the New Sun ....text is unnervingly and suavely coy.

Peace ....that deeply ironic tale of death and corruption

....briefed to attempt to read the text as though every word was intended to bear meaning

....Unless you are willing to take the book literally, it will never even begin to unfold into what may be its true exultant shape.








Jay
7 October 2019

CANARY FEVER: REVIEWS John Clute


"They Could Not Stand the Barking"

....Several times over the years I’ve used the title of Robert Aickman’s superb autobiography – Attempted Rescue (1966) – to refer to adulthood as I think he intends to describe it: adulthood as a failure to rescue the Golden Age (which is to say our young selves) from self-murder. Attempted Rescue is what we do to our own lives with our own hands.




Reading: PARDON THIS INTRUSION Fantastika in the World Storm

PARDON THIS INTRUSION Fantastika in the World Storm JOHN CLUTE



Pardon This Intrusion 

Keynote address for Interstitiality Conference, New Paltz, New York, 1 May 2004. Revised for publication. Here further revised.


....We are so accustomed – as writers and editors and readers and critics – to studying and critiquing genre against an incessant flow of disparagement from the humanities industry that we sometimes ignore the obvious: that 90% of fantastika is indeed crap; that its grasp of the world can seem palpably and culpably naive 


....a critique of some of the precepts of interstitiality might focus on a sense that there are in fact no longer any real battlements to ride. The walls against which we have ricocheted our interstitial craft are fatally cavitated. 


....The genres are too old, and they have interjaculated all too promiscuously in recent years, for us, any longer, to derive from them rules to obey – much less rules worth breaking.




FANTASTIKA IN THE WORLD STORM 

Keynote address for Cultural Landscapes/Fiction Without Borders Conference , hosted by the Centre for the Future, Prague, 20 Sept 2007. Revised for publication. Here further revised .


....Horror (or Terror) is the most relevant of the three genres when it comes to adumbrating the dilemmas we face in 2007: because Horror is about our resistance to the truth: a resistance which lasts until we are left naked in the real world: which is where the story ends.


....Fantastika consists of that wide range of fictional works whose contents are understood to be fantastic.


....fault line was drawn between mimetic work, which accorded with the rational Enlightenment values then beginning to dominate, and the great cauldron of irrational myth and story, which we now claimed to have outgrown, and which was now deemed primarily suitable for children (the concept of childhood having been invented around this time as a disposal unit

into which abandoned versions of human nature could be dumped).


....This cleansing of the cauldron led of course to huge misprisions of the past.

mis·pri·sion1

/misˈpriZHən/

the deliberate concealment of one's knowledge of a treasonable act or a felony.


....not only Sigmund Freud who tells us that what is repressed will come back; the ancient tale of Antaeus, who returns redoubled in strength each time Heracles casts him to the Earth, says much the same thing.


....Before the end of the eighteenth century, stories begin to surface that consciously subvert the ordered world above; that contradict the closed mundanity of the work produced during the Apollonian Ascendancy; that manifestly represent the world as consisting of more than the dressage of proper measure.


....The Castle of Otranto ( 1764 ) is the first mature British Gothic – was obviously aware that he had created something new, a feverish scherzo of a text far more interesting than most of the Gothic novels which borrowed his deftly cartoonish apprehensions about the past as remora, the fascination he felt at the contemplation of the new discovered category of the Ruin, and his sense of the quite extraordinary precariousness of the civilized world: family, religion, tradition, hierarchy, authority: no one in the novel who speaks for the established world order – no priest, no sage, no father – can be trusted. 


....the overlapping categories which together make up the centipedal super-category which I'll continue to call Terror whenever possible – and which arguably incorporate the Gothic, German märchen, the supernatural tale, the ghost story, the weird tale, the strange tale, dark fantasy, some slipstream, the New Gothic, the New Weird, and even some of the waif biota that twenty-first century "interstitialists" hope to gather under their wing – the essential turn of mind and story is to uncover the true face of the world, to exudate the melodrama of the world. (In the end, of course, it is chicken and egg: since Time began to roll, just before Napoleon, it might be just as possible to say that the world has been acting like fantastika.) The difficulty and fustian of much horror/terror literature derives, I think, not from literary incompetence, but from some attempt to create a Body English of the tormented confusion of that changing world.



The Shape of Things to Come by H G Wells Introduction for Penguin Modern Classics in 2004. Here revised.


....From the beginning of his career, a convulsive doubleness of thought and imagination and affect governed the lines of his fiction, created deep fault lines in the presentation of his thoughts, dividing the world not only into the Is and the Should Be, but also into the Loved and the Despised. The first divide is simple: Wells was deeply impatient about engaging himself in any detail-work involved in describing the transition from the muddle of the present world to the sanserif hygiene of the desired Utopia; and his tales can indeed seem evasively convulsive when they reach the point of change. In a book like In the Days of the Comet ( 1906 ), for instance, when it becomes necessary for a new order to supervene, he simply reverts to magic: an exhalation of "air" from a passing comet transforms everyone halfway through the tale; and the muddle dissolves like the passing of a dream, and the world is clean.


The second convulsiveness is perhaps less easy to put. It is certain that Wells, who famously smelled like honey, knew and loved the world, and in novels like Mr Poll y ( 1910 ) superbly celebrated that world in all its "muddle" and incoherence. But it's also clear that he hated the world that so drew him, hated the congested filthy tangle of South-East England where he had been born to servants, the class-entangled England he destroyed more than once in his Romances, and which he dismissed, contemptuously, in his social tracts. With the exception of the Prig Novels, which are now close to unreadable, Wells only rarely permitted himself to inhabit an inherently mundane world, one that offered some resistance to the power of thought. The unusual, chastened adultness of Mr Blettsworthy on Rampole Island is touchingly revealed when Blettsworthy, after learning that human beings are Yahoos, witnesses then no magic transformation of our species, and remains trapped in the midst of us, and the First World War begins. But this restraint is rare. The Whig voice that hardens the first 200 pages of his Land Ironclad of 1933 is perhaps a necessary posture of thought for Wells, an ageing man caught between two dreadful wars. It is a proclamation of inevitable change cast in the face of a world seemingly destined never to learn how to cleanse itself. But it solves nothing. To speak of the inevitability of a World State in The Shape of Things to Come (where in fact a magic plague is needed before it can leap into being ) is, in a sense, to become incompetent with rage.


....The simple fact is that, after 200 pages of The Shape of Things to Come , chaos and muddle rule, and Wells is unable to make storyable his claim that the World State was seeded in the world of 1933, in the transfiguring intellections of his samurai.


....Many novels of disaster appeared in Britain in the 1920s and 1930s – notable titles include S Fowler Wright's recently republished Deluge ( 1927 ), and The World Ends ( 1937 ) by Storm Jameson writing as William Lamb – but The Shape of Things to Come may be unique in its lack of any expression of regret at the passing of the old world, the absence throughout its vast length of any sense that what was proclaimed to be disposable was worth an expenditure of love. A single example points the quite extraordinary contrast between Wells and his contemporaries. Though John Buchan would be nobody's first choice as a politically unengaged aesthete – he died in 1940 while still serving as Governor-General of Canada – he expressed....



Jay

7 October 2019





Watchers, listeners, overlookers: Ghostland by Edward Parnell (2019).

Just finished Ghostland by Parnell. A very powerful book. A personal tour of landscapes featured in UK supernatural fiction and TV. A very personal and deeply poignant memoir of family loss, as well. 

Every chapter touches on some aspect of M.R. James' life and art. Other chapters discuss intelligently:
Blackwood, Machen, the Bensons, Aickman, Rolt, Alan Garner.

Films discussed: The Wicker Man, Quatermass, Dead of Night, Thunder Rock, Night of the Demon.
Among many others.

Copiously illustrated with Parnell's own photos of the landscapes.

Recommended.

Jay
1 November 2019