Links to thinks

Neil Gaiman writes about Gene Wolfe
"... Gene Wolfe remains a hero to me. He's just turned 80, looks after his wife Rosemary, and is still writing deep, complex, brilliant fiction that slips between genres. ... He's the finest living male American writer of SF and fantasy – possibly the finest living American writer. Most people haven't heard of him. And that doesn't bother Gene in the slightest." Read the article.

SF Signal Mind Meld: Which challenging SF/F stories are worth the effort to read?
Some wonderful recommendations, including works by Gene Wolfe, Joanna Russ, Samuel R. Delany, Neal Stephenson, Cordwainer Smith. As Cat Rambo writes in the comments, add Italo Calvino, Stanislaw Lem, John Crowley, Justina Robson, and Peter Watts. Who would you add? Read the article.

Ursula K. LeGuin reviews Embassytown by China Miéville
"If Miéville has been known to set up a novel on a marvelous metaphor and then not know quite where to take it, he's outgrown that, and his dependence on violence is much diminished. In Embassytown, his metaphor ... works on every level, providing compulsive narrative, splendid intellectual rigor and risk, moral sophistication, fine verbal fireworks and sideshows, and even the old-fashioned satisfaction of watching a protagonist become more of a person than she gave promise of being." Read the article.

Rob Latham on J.G. Ballard
"I believe that, with the possible exception of Philip K. Dick, postwar SF has produced no finer writer, and certainly none more attuned to the perplexities and pitfalls of the modern technoscientific world." Read the article. (Edited: link updated.)

Orange by Neil Gaiman

This one is slick and amusing. The conceit is that the story is composed completely of answers to questions the reader doesn’t get to see. As the first lines say: “Third Subject’s Responses to Investigator’s Written Questionnaire. EYES ONLY.”

The funniest bits arrive early:
“7. Several times a day.
“8. No.”

The wildly speculative places that those answers take the reader are worth a chuckle. The actual story, alas, is familiar and prosaic, despite its unusual format. Told from the point of view of a 17-year-old girl, it’s the story of a nutty scientist mother with a laboratory in the garage and the irritating younger sister, Nerys, who is transformed by one of the mother’s experimental dyes into a glowing orange “Immanence” floating above the ground and demanding to be worshipped. When things begin to get out of hand, aliens arrive in a spaceship and intervene, taking the transformed Nerys away and promising not to harm her.

The clever format doesn’t actually work. Since the written questionnaire is presumably prepared in advance, the questions could not flow from the previous answers as the narrative requires. They do, thus undercutting the premise.

"Orange" by Neil Gaiman, originally published in The Starry Rift edited by Jonathan Strahan (Viking, 2008).
Link: Year’s Best SF 14 summation and table of contents

The Graveyard Book

The Hugo Award for best novel was given out this past weekend to The Graveyard Book by Neil Gaiman (2008). I should say up front that it wasn’t my top choice. I was a voting member, even though I didn’t attend Anticipation in Montreal, and my top vote went to another novel. Still, The Graveyard Book is a fine book, and already the winner of the Newbery Medal.

It’s a variation on Rudyard Kipling’s The Jungle Book (1894), in which a boy, Mowgli, is raised by the animals of the jungle. In Gaiman’s book, a boy, Nobody Owens, is raised by the undead denizens of a graveyard.

Gaiman hits all the notes you might expect: the threat of death from both earthly and supernatural causes, an amusingly off-kilter education, a touch of childhood romance, an array of charming characters, growth and change, and a nudge out the door toward adulthood. It’s well done throughout.

For me it was spoiled a bit by Gaiman himself. The anthology Wizards edited by Jack Dann and Gardner Dozois (Berkley Books, 2007), led off with “The Witch’s Headstone” by Gaiman, which would later become a chapter in the novel. This was one of the strongest novelettes of the year and it won the Locus Award. It drops the reader immediately into the setting of The Graveyard Book and offers most of the pleasures of that novel in a more compact and intense experience. Next to “The Witch’s Headstone,” the novel’s many digressions and side-trips seem flabby and a bit hollow. The Graveyard Book is a short novel, but after “The Witch’s Headstone” it seems overlong.

The Graveyard Book is the sort of book that lends itself to visual interpretation. The edition in front of me has a generous number of excellent illustrations by Dave McKean. I am not surprised to learn that it’s been picked up for a film. In the fantasy and science fiction genre, Gaiman is on a pace to rival Philip K. Dick for the most film adaptations of his work.

I’ll discuss the novel I did vote for in another post (follow here).