Tag: Aliya Whiteley

A weekend of novellas (contents may not be as advertised)

After my run of reading novellas last month, I decided to do the same again. Except some of these definitely aren’t noevllas, and I didn’t read them all at the weekend. Anyway…

KaufmanAndrew Kaufman, All My Friends Are Superheroes (2003)

This was Kaufman’s first book, and the delightful imagination that he put to such great effect in books like Born Weird is on display here, too. It’s the story of Tom, an ordinary guy who married a superhero, the Perfectionist. But trouble soon came calling: on the couple’s wedding day, Hypno, the Perfectionist’s ex, hypnotised her into thinking that Tom was invisible; now she’s flying to Vancouver to begin a new life, and Tom needs to find a way to make her see him. Kaufman’s novella is peppered with vignettes of superheroes whose powers are often based on personality traits (such as the Frog-Kisser, who can ‘transform geeks into winners’ but then loses her attraction to them; or Mr Opportunity, who knocks on doors but is rarely answered). The rest of the book has the same charming mixture of the quirkily fantastical and a heart of everyday (but is it really?) emotion.

George Szirtes, Uncle Zoltán: fragments (2014)

This pamphlet from the Belgium-based publisher MIEL is a collection of bon mots from the titular Uncle Zoltán; these are by turns whimsical, fantastical, and absurd. For example:

We had a tiled stove with wings. Occasionally it would squwak and hover a foot or so off the ground, said Uncle Zoltán.

Always pack three umbrellas, one for heavy rain, one for light rain, and one for no rain, said Uncle Zoltán. A dry umbrella is consoling.

So many of these delightful snippets send the imagination off into a sideways world where all the strangeness makes sense; one also starts to imagine what kind of character Uncle Zoltán might be, built up indirectly from the fragments of reported speech. I’m not sure there’s much more I can say, because Uncle Zoltán is very much a book that lives in the reading.

Levy

Deborah Levy, An Amorous Discourse in the Suburbs of Hell (1990)

Newly reissued by And Other Stories as an attractive little hardback, this is a poem: a dialogue between an angel and an accountant, which evokes the push and pull of the mundane and the transcendent, the heat of desire and a quieter contentment. Rather like Uncle Zoltán, Levy’s book encourages you to focus in on the language (and even, in this case, the arrangement of words on the page). AS much as I enjoyed it, though, I find it difficult to separate out a quote from An Amorous Discourse. Here’s a video (hosted by the Irish Times) of Levy reading from it instead

WhiteleyAliya Whiteley, The Beauty (2014)

Aliya Whiteley can usually be relied upon for engaging stories with a dark twist, and The Beauty (published by Unsung Stories) is no exception. It focuses on a group of men living in a time when the female population has died out (the cause is unspecified) and the details of geography and history have become hazy; the Group relies on its storyteller Nate to retain the memory of what matters. One day, strange fungus begins to appear on the graves of the Group’s women, growing into silent, faceless female figures dubbed ‘the Beauty.’ What follows is a story that leaves the reader’s thoughts and sympathies in flux – on the one hand, there’s the moral issue of how the men treat the Beauty; on the other is the question of whether the Beauty themselves are benign. The vagueness of time and place, and the starkness of the Group’s world, only add to that sense of uncertainty.

Johnson

Denis Johnson, Train Dreams (2002)

I got a very enthusiastic reaction on Twitter when I mentioned that I had this lined up to read; though I perhaps wouldn’t quite go that far myself, it’s certainly very good. Train Dreams moves back and forth through the life of Robert Grainier, a labourer born in 1889 who would go on to witness enormous change in the twentieth century. Johnson evokes the raw nature of life and landscape in Grainier’s American West; and includes memorable glimpses of others’ personal tragedies, such as that of Kootenai Bob, the old Native American who got drunk for the first (and last) time, then went to lie down on the rail track. The fragmented structure of Train Dreams serves to underline the essential; nature of Grainier’s life: unstable but enduring, haunted by the past but always with a future around the corner, for good or ill.

BarkerA,L. Barker, Lost Journey (1992)

This is one of four ghost stories which have been published in new individual editions by Galley Beggar Press. I have to admit that I’d never heard of A.L. Barker prior to reading Lost Journey, but this story was such fun that I’ll have to seek out more of her work. Barker’s narrator spots two striking figures in the street: an old woman with no legs, who travels around in an orange box on wheels; and her beautiful companion, who pushes her. Led by his libido, the narrator falls in with them; the old woman, Gerda Charles, turns out to be four hundred years old, and searching for a way to die. There’s a wry glee to this story; much of its energy comes from watching the narrator being strung along by forces outside his control, and seeing just where he’ll end up.

 

Lines Drawn in the Air: literary and genre fiction

Occasioned by the Gaiman/Sarrantonio Stories anthology, David Barnett has written a blog post for the Guardian on ‘literary’ versus ‘genre’ fiction. I can’t help thinking that it’s based on a false opposition. He writes:

The ongoing, endless war between “literary” fiction and “genre” fiction has well-defined lines in the sand. Genre’s foot soldiers think that literary fiction is a collection of meaningless but prettily drawn pictures of the human condition. The literary guard consider genre fiction to be crass, commercial, whizz-bang potboilers. Or so it goes.

Well… Maybe some people do hold views like these, but I struggle to accept it as a generalisation. From my point of view, the kinds of distinctions to which Barnett refers are simply artificial. I’d agree with Aliya Whiteley that all the plot in the world is no guarantee of a good read, not if you don’t care about it; and that that both fast- and slower-paced novels can be worthwhile. I also think that Sam Jordison has it right in his comment on Barnett’s post when he points out that plenty of ‘literary’ fiction tells a good story. And I would disagree with the implication that a page-turner must be plot-driven. We turn the page because we want to know what’s written on the next one; I don’t see that it makes much difference whether what’s written there is a plot point, or a character observation, or whatever.

I define the focus of this blog as ‘literary fiction’, but I deliberately take a broad view of what that term means; some of it would be considered genre, some perhaps not. As far as I’m concerned, no matter what I’m reading, my basic approach doesn’t change: what I want is for a book or story to be the best it can, whatever it’s doing – and I hope that attitude comes through in what I write.

The divide between literary and genre can vanish with a tweak of perception. Consider this post by Larry Nolen, in which he responds to another blog post that identified lack of sf/fantasy authors in the New Yorker’s recent list of 20 American writers aged under 40, and contrasted  that with the  Daily Telegraph’s similar list of British writers.

(I will pause briefly to wonder what definition of ‘British’ led to the inclusion of Paul Murray in the Telegraph’s list, then move on.)

Larry points out, quite rightly, that the New Yorker list does include some authors of fantastic literature; it’s just that their work tends not to appear on the science fiction and fantasy shelves. However, we could go further, and note that China Miéville is the only writer on the Telegraph list who is published as a genre author. All the others on that list who could be considered to have written science fiction or fantasy, from Rana Dasgupta to Scarlett Thomas, are published as mainstream – just like the writers Larry mentions.

If there are lines between literary and genre fiction, I would suggest that they’re not so much drawn in the sand, as drawn in the air – and can be stepped over just as easily.

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