Tuesday, September 25, 2007

Stealing Magic by Tanya Huff

This short story collection is really two collections, one telling of the wizard Magdalene, the other chronicling the adventures of the thief Terazin. The two "books" are bound back-to-back in a single volume. The telling is bright and breezy (a world away from the stilted, formal prose of so much fantasy of that ilk), the tone generally light; as the author writes in the afterword, "there should always be room for a few laughs."


The full review is available online at SF Site.

Further links:
Tanya Huff
EDGE Publishing

Friday, September 14, 2007

So Far, So Near by Mat Coward

Mat Coward's stories...treat the fantastic as the most natural thing in the world, to the extent that you might not even notice at first; and, when you do, your attitude might be like that of the character who finds a dead ghost sitting on his toilet: 'you shouldn't be surprised. . . at what life chooses to throw at you. One ghost, two divorces, one imminent bankruptcy.' When you put it like that, why should encountering a ghost be so notable?


The complete review is available online -- about halfway down the page -- at Serendipity.



Further links:
Mat Coward
Elastic Press

Wednesday, September 12, 2007

Snow Patrol's Final Straw: A Consideration

DH diversifies into music!

Laura Hird has been inviting contributors to write short articles about music that is significant to them. I've taken up the challenge, and chosen to write about the album that introduced me to Snow Patrol, 2003's Final Straw. You can read my thoughts on it at the New Review.

Further links:
Snow Patrol

Gold by Dan Rhodes

...I can't recall the last time I was so compelled by a book in which ostensibly nothing (and yet so very much) happens. Gold is a quiet and unassuming book but – fittingly enough – it is also, when you look closely enough, a book that gleams and sparkles.


The complete review is available online at Laura Hird's New Review.


Further links:
Dan Rhodes
Canongate

Fired! by Annabelle Gurwitch

Annabelle Gurwitch certainly wasn’t laughing when Woody Allen fired her from one of his productions; but she was buoyed up by hearing friends’ tales of being fired – and now here’s a whole book of them, along with further anecdotes sent to Gurwitch through her website...


The complete review is available online at Laura Hird's New Review.

Further links:

Annabelle Gurwitch

Simon & Schuster


Saturday, September 08, 2007

GUD: Greatest Uncommon Denominator, Issue 1

Here is a magazine that means business. Not only does the very title imply quality, this issue weighs in at almost 200 pages, with no less than thirty contributors listed at the back. One can’t accuse its publishers of skimping on content! (Or on production values, as this is a handsome volume indeed.)

As for what the magazine actually publishes… Well, the postcards enclosed with the review copy say, ‘Greatest Uncommon Denominator encompasses and transcends genre and literary fiction’, a statement that manages to be both hopelessly vague and entirely accurate. There is diversity of approach, be in no doubt, but also a unity of sensibility in the magazine, a sensibility that might be described as taking a step or two away from reality. This results in some wonderful flights of imagination, but it can also make the job of reviewing trickier. An examination of the first two stories will show you what I mean.

Issue 1 of GUD opens with Electroencephalography by Darby Larson, in which Dean stumbles across a box of mechanical components, as you do; and decides to build himself a robot servant, as you do – and the point is that, in Dean’s world, you do, because this is the kind of dream-logic world where a dead body only needs a clockwork energy converter attached for it to return to life, so of course you’d build a robot. Anyway, Dean’s great idea doesn’t work out quite how he anticipated; and, unfortunately, the ending of Larson’s story doesn’t quite live up to the beginning – but I can’t really tell you why I think that; it’s just how it feels. Then you’ve got Arrow by Nadine Darling, whose protagonist wakes up with a very visible indicator of love – namely, an arrow through the heart. Again, the author does an excellent job of convincing us that yes, this could happen in the world of the story; but, this time, the ending works. And I don’t know why I found Darling’s ending satisfying and Larson’s not – I just did. I can’t put a finger on it, any more than I can explain to you how clockwork robot servants or arrow-pierced hearts could ever be accepted features of contemporary life. Whilst that’s fine for the stories (that first imaginative leap being part of the unspoken contract between writer and reader), it’s not acceptable for a reviewer to go, ‘Um, yeah, kind of like that, but dunno why.’ Yet that’s just the kind of reaction I repeatedly found myself having. So you see the problem.

All right, let’s start with some of the stuff I definitely liked. Steven J. Dines contributes Unzipped, the powerful and subtle tale of a soldier returned from Iraq and trying to deal with the death of a child that he witnessed out there and feels he should have prevented. I didn’t realise what Dines meant by the ‘ball’ that wasn’t a ball until I turned the page – and it knocked me for six when I did. A top-notch character study. So is Aliens by Jordan E. Rosenfeld, set at a restaurant out in the desert where people have a tendency to see UFOs. But who needs little green men when, as Rosenfeld shows, the staff and customers of the restaurant are such misfits themselves – and, by extension, any of us could be a metaphorical ‘alien’, given the right circumstances.

Though some tales in GUD depict extraordinary events, others introduce you to characters with odd ways of thinking. Take Mike Procter’s Item 27, whose narrator is working through a list of ambitions and has reached the one about killing someone. When it comes down to it, though, he’d really rather get someone else to do the deed – he just needs to hire them. Procter’s brief tale is quite amusing and, for just a short time, makes the protagonist’s thought processes seem entirely reasonable. Experiment: Love by Brian Conn is less playful in tone and (naturally) about love rather than killing, but it too puts you most effectively in the mind of another – two people, in this case, who have an unusual take on love (they’re splitting up but, one says, if they meet again years later, their cells will remember each other even if they themselves don’t).

So those are some of my personal highlights from this issue. Then there’s the stuff that I like, but belongs more in the second tier for me. An example is Max Velocity by Leslie Claire Walker: giving birth has become a matter of being buried in the ground while our baby eats you, so Fan isn’t too happy about being pregnant, to put it mildly. Fortunately, she is rescued from her fate; unfortunately, she then ends up… This story was a little too odd, even for me, but it’s compelling all the same. Sean Melican’s In the Dark is the similarly well-written tale, told in epistolatory form, of a researcher visiting a moon whose alien inhabitants insisted he allow himself to be blinded beforehand. I loved the way Melican handles the different voices, I loved the particularly mysterious aliens – but I didn’t quite get the ending. A shame, but that’s just the way it goes sometimes.

GUD magazine is not all about fiction; there’s poetry and art in there too, but I have less to say about them, as I don’t have the knowledge to critique them in the same way. Of the poetry, I particularly enjoyed Timothy Gager’s Moving Boxes, which poignantly compares packed-up items to a past relationship; and Cami Park’s Sisyphus of the Staircase, whose title neatly sums up its central idea. I also found the imagery of The Intrigue of Being Watched by Rusty Barnes, comparing sex to the sea, most evocative. I’m afraid I really can’t offer a useful opinion on the artwork, but I do like the way the magazine’s structure encourages you to appreciate the art in its own right, rather than as an adjunct of the fiction – which is not to say that the juxtaposition of art and fiction won’t sometimes make you look again with new eyes.

Of course there are pieces in this magazine that I didn’t really get along with, but I don’t want to dwell on them too much; I think it’s quite clear that this is the sort of publication whose contents really will inspire different reactions from different readers. But there’s enough quantity and variety between the covers to convince me that there’s something here for everyone – and, even if you don’t necessarily like what’s over the page, it will always be interesting. Let me just mention one final contribution: towards the end of the magazine is Mad Dogs by Christian A. Dumais, the only piece labelled as non-fiction. Dumais is an American teaching at a university in Poland; this piece chronicles his night out drinking with some visiting Secret Service and Air Force Two staff, a night which ends with him sitting in the apartment of two Polish lesbians. You’ll have to read the essay to find out how he gets there; but what’s great about this piece is that it makes real life seem just as strange as the fictional realities depicted in the rest of the magazine. So that’s GUD, a magazine that builds its own fantastic aesthetic from a diverse range of building-blocks, even the real world.

GUD Magazine edited by Julia Bernd, Sal Coraccio, Kaolin Fire and Sue Miller. 5x8, 196pp, US$10/print and US$3.50/PDF (see website for other subscription rates and non-US prices). Published by Greatest Uncommon Denominator Publishing, PO Box 1537, Laconia, NH, 03427 USA.



This review first appeared in Whispers of Wickedness.


Further links:
Darby Larson
Nadine Darling
Steven J. Dines
Jordan E. Rosenfeld
Brian Conn
Leslie Claire Walker
Timothy Gager
Cami Park
Rusty Barnes
GUD Magazine

Ugly Stories for Beautiful People by James Burr

Ugly Stories for Beautiful People feels like a book in its own little world. I don’t mean to suggest that its stories never joined the party – a glance at the list of previous publication credits will reveal that they did – but there is a certain sense that this book stands to one side, that it’s doing its own thing, as it were. Part of that sense comes from the cover, which is striking in its minimalism, and quite unlike any recent book cover I’ve seen, from either the independent or mainstream press (not to mention a fine example of how attractive even a home-made cover can be).

More than that, there’s the intent of the collection itself. To quote the covering letter that James Burr sent with the review copy, ‘[t]he stories are generally inter-linked and were conceived of as a whole – hence the lack of contents page… I want people to read them in a certain order; long story after short; humorous after grim.’ Whilst I’m not sure that having a contents page would spoil the way we experience the book, Burr achieves his aim, as the book feels complete in itself: there is a rhythm to the way the tales are arranged, and they are indeed linked – not by setting or characters (except in one instance); but by a general theme, which may be broadly described as people coming (or refusing) to perceive that reality is not as they thought.

Sometimes this happens quite literally, as in Life’s What You Make It, where a woman’s happy, comfortable life is intruded upon by what appear to be experiences from another version of her life, one with much more hardship. Which life is real, and which illusory? I’ve read my fair share of stories in which someone’s life is literally rearranged around them – you probably have, too – but I don’t remember reading one as thrilling or disorientating as this.

At other times, the theme is exhibited in a more mundane (though not necessarily pedestrian!) way. An example is Blue, one of the book’s longer entries. It follows Kate, working as an English language teacher in Barcelona, and her encounters with a mysterious group of tattooed individuals. The story takes a while to get where it’s going; but, when it does, it proves an interesting character study: the tattooed group are frustrated at people whom (they believe) don’t see the suffering in the world, and their aim is to redress that in a rather direct way. Burr’s examination of the morality of this view is pleasingly nuanced.

Sometimes the theme is somewhere in the middle of these two extremes, as in The Dada Relationship Police. The stability of another life is under threat, this time that of Matt, who begins to receive strange phone calls and notes signed by the titular ‘police’, telling him that his partner is cheating on him and his relationship is over. And this is not quite a self-fulfilling prophecy, at least not totally. The ending may raise a smile (as it did with me) but, if it does, the smile will be wry.

Interspersed with the longer pieces are shorter ones, which are generally more humorous. Perhaps the funniest is It, a shaggy dog story in which people literally disappear up their own backsides and the world is saved by Tom Paulin. If this sounds too silly, I can only urge you to give it an even break, because it’s highly amusing. It also has a serious point to make to anyone who has ever strung a sentence together (a point that this reviewer has taken – so he hopes!). Also pulling off that mix of humour and seriousness is Mutton Pie, about a man’s encounter in a pub with an older woman. The tale refers to ‘the self-delusions that we wrap around ourselves to make life more bearable’ – true enough. But it also suggests that those delusions may not be all that bad, not if they work for us – truer still.

The collection begins and ends with a story called BobandJane and its postscript, about a couple who are so very much in love (Burr’s prose conveys this superbly) that, yes, they don’t perceive reality as it is – and, at the very end, their bubble may just be starting to burst. Not just a neat story, it serves as a summation of the whole book, a book which covers a range of human emotion, precarious relationships and equally precarious realities (and there may not be much difference between the two); and whose intriguing constituent parts form a complete, intriguing entity.

Ugly Stories for Beautiful People by James Burr. Paperback, 276 pp, £11.99. Published by Corsega Press.

This review first appeared in Whispers of Wickedness.


Further links:

James Burr