Freckles & Doubt

It's definitely the apocalypse, I was in the supermarket yesterday and they hit me amidships with the first Christmas carol of the year, "Silent Night" sung in what appeared, for some reason, to be Dutch. This was cruel and unusual in itself, since normally the Geneva convention requires that it be November before Christmas carols are permitted to enter the arena of war. It was rendered additionally and unnecessarily hideous by the fact that the supermarket was playing syrupy "Silent Night" in Dutch at one end, and an entirely different Supermarket Radio Experience was inexplicably churning out the Proclaimers at the other. Standing exactly in the middle, circa the ice-cream aisle, with one in each ear was completely indescribable. I emerged, shaken, and tottered across to the mall to acquire (1) soothing new towels in an attempt to recover, and (2) books for Da Niece, whose esteemed birthday it was yesterday.

Time is weird this year. Da Niece retains her excellent literary taste - Song of Achilles by request, and receiving with joy Naomi Novik (not the dark school one) and the second Spider-Gwen - but also vouchsafed the information that she turned 15 yesterday. I have genuinely spent the last two years thinking she's 13, by my mathematically-challenged calculations she should have been turning 14 at the absolute most. Apparently it's been 2018 since 2018. Or I'm in a serious kind of denial. I had been vaguely assuming, with auntly pride, that she's a particularly mature 13-year-old. She's a delightful and particularly mature 15-year-old, anyway.

Also on the Dark front: I have just re-read, with much enjoyment, Tamsyn Muir's Harrow the Ninth, which retains, beyond its unabashedly Gothy vibe, its status as an excellent LARP/escape room puzzler, now with added bones, blood and despair. I cannot, alas, get into the sequel at all, it appears to be submerging itself in excessive literary device, including fragmented time-flow and inexplicable descents into the second person. The worldbuilding remains amazing and fascinating, and there are satisfying revelations, but even with the first-book twist as a starting point, it's losing me. Phooey.

Possibly by way of slightly more satisfying excursions into blood and death, I am currently re-playing Fallout 4 on survival mode, which means dying approximatly four times a combat, and needing to eat, hydrate and sleep to a somewhat realistic schedule. In this, if nothing else, will we exert some control over the apocalpyse.

How can it be August already? For a shapeless horror, its proportions all wrong, whose actual days are featureless and leaden, this year's monstrosity actually moves very fast. 2020: the wrong sort of zombie.

I am distracting myself extremely hard from work (first week of term and concomitant curriculum change nightmare, plus residual angst from performance review fuckery) by reading rather a lot. This week's discovery: the re-release on Kindle of a whole bunch of Joan Aiken's adult Gothic thrillers (Amazon page here, if only because I like the covers). I love Joan Aiken's kids' stuff, her fairy tales (Necklace of Raindrops et al, with the amazing Jan Pieńkowski silhouette art) and the alternate history series which starts with The Wolves of Willoughby Chase, and which I reviewed in more detail here.

Her adult Gothic is something else entirely. It's like the bastard love-child of Mary Stewart and Agatha Christie, with a dash of Edgar Allen Poe: domestic where Stewart is all exotic locations, atmospheric where Christie is clinical, and at times quite astonishingly lowering, threatening and claustrophobic. People do horrible things to other people in these books, as much manipulation as murder. Despite their comparatively modern setting they have a really sure sense of Gothic weather and place: the various houses are, properly for Gothic, very much characters in their own right. The slightly fey whimsy of the Dido series is almost entirely absent, although at least one of the adult novels shares with Dido's story the general correlation of musical ability with villainy. Somewhere in Joan Aiken's past a musician savaged her very badly.

You'd think that reading this sort of thing during lockdown in a pandemic would be counterintuitive, but in fact it's cathartic: there's something appropriate and resonant in the experience of these hedged, desperate heroines trying to escape their oncoming, inevitable doom. I feel you, sisters. Same.

I cling to my research pursuits by the skin of my teeth these days, cramming it into odd corners and for the large part watching with helpless regret as mental and physical fatigue torpedo what little footholds I can carve out. One of the upshots is that these days I go into the university library about twice a year, if that - not because I'm not researching at all, I am, but by and large research these days is done virtually rather than with hard-copy books, and such hard-copy books as are essential to my research interests are somewhat fringe and I tend to simply buy copies for myself. (Memo to self: Kindle. Because exploding bookshelves.) However, I am overdue by two months for 2000 words on the importance of Vladimir Propp to fairy tale criticism (because why pick a reasonably-sized topic, a sense of proportion is for the weak) and my copy of Morphology of the Folktale has vanished completely enough that I'm beginning to wonder if I hallucinated actually owning it, so on Friday I Braved The Library.

I should not, as a literature academic, be alienated by an academic library. Being alienated by a library is an alienating experience on a whole level above the library itself being alienating. They radically redesigned the space a couple of years ago, and moved things around, and ever since then I walk in and am immediately lost. It's a very beautifully appointed and glitzy space, and has added several zeroes onto the number of student study seats, but I realised today what the root of the change is: it's now a student-focused space, not an academic-focused space. I get lost because all the signposting is about where and how students can study, and which areas are for undergrads, and how you may use your cellphone. There are no guides at all to where you might find the actual books. The previous library layout gave clear, unequivocal maps by Dewey number, and the lack of those leaves me free-floating and slightly panicky, because on walking in, you can't actually see any books at all other than the few shelves of reference volumes in the front. I was rescued by a kindly library colleague (it's useful knowing all these people from university committees), and she commented that the head librarian is contemplating getting rid of large numbers of the books, based on what people are actually reading.

I don't want to sound like a Jurassic reactionary about this - this is the way things are going, information is increasingly virtual, and the shift to a focus on the student experience is an important and necessary address to the exclusionary elitism of academia's more traditional forms. And if I was a more consistent Academic, in the sense of using these facilities for more than about 5% of my job description, I would have got the alienation over in a few weeks and simply adapted to the new status quo, rather than spreading it out torturously over several years. But I mourn the old library, and the physicality of the experience when your wanderings among the shelves were done in the consciousness of the accreted weight of all those books. I used to read for fun in undergrad, mostly as a substitute for an actual social life: I remember randomly picking up fiction just because the name seemed significant, William Morris and Evelyn Waugh and Virginia Woolf and John Fowles and the weirder corners of Tolkien. I'm not sure I could still do that in the new space, or if the books would be there for me to stumble upon. It's all too goal-oriented now.

And I really, really mourn my lost sense of mastery of the space. I struggle with academic identity at the best of times; to be at sea in the quintessential academic space, to be unable to locate the texts which are central to my research identity, was actively eroding to a particular facet of my sense of self. It wasn't pleasant.

I have my dark suspicions as to whether or not the new library even generates L-space. I don't think .303 bookworms exist virtually, or if they do, we're all completely screwed. It's worrying, is all. My worry is indexed by the fact that my subject line is Doctor Who, more specifically "The Silence in the Library." Because of course it is.

I am in the sweary stage of paper writing. It's fighting me; I'm wrestling it, it's largely winning. I hate it, and myself, and my writing, and African fairy-tale film, about equally. I am horribly bored by the need to finish the damned thing (it's now nearly a week after deadline) and the fact that I can't permit myself much in the way of socialising or happy domestic fuffling until it's bloody well done. Alarmingly enough, this is all familiar and status quo: never underestimate the extent to which the relationship academics have with academia is basically abusive. I'll finish it. This too will pass. Until then, swearing, and loathing, and hedgehoggy hermitting. But especially the swearing.

I did, however, track down the volume on African folklore which I'd randomly packed at the bottom of a whole box of Pratchett and Moorcock. This has led me, as a knock-on effect, to throw out more books, as I had to unpack and repack a bunch of them. I'm still obscurely enjoying the catharsis of the clear-out.



There should be an almost complete Elric in the Moorcock, and a couple of other series as well - Corum, and Dorian Hawkmoon? I have kept the Jerry Cornelius ones, because postmodernism, and the Dancers at the End of Time ones, because I don't do hallucinogenic drugs and a girl has to have some substitutes. I am forced to admit that I've pretty much outgrown Elric, I haven't read them since undergrad. The John C. Wright are buying it because the frothing homophobia of the writer's online presence is having the Orson Effect, namely an inability to read his fiction without a sort of Pavlovian response of annoyance and distaste. Also, he's a sexist sod, frankly; I really like some of what the Orphans series does, but its ideological irritations are now outweighing its enjoyments. Never trust a writer who feels impelled to spank almost all of his women.  I have retained only the remnants of my Heinlein collection which are (a) genre classics and (b) I am able to read without actually throwing the book across the room, which in the event turns out not to be many of them. I've turfed out the young adult stuff, because frankly there's better y.a. sf out there, but they're actually fun and comparatively inoffensive - Pam, you might like them for the young'uns? The Michael Scott Rohan are swashbucklery fun, but I've kept Scott Lynch for that.

If anyone wants to appropriate any of these, please let me know! So far only the Kay and the Aldiss have been bagsed from the previous group.

On with the motley! As in, motley collection of tomes mostly not sf or fantasy. A slew of historical, including the Dorothy Dunnet Lymond ones, and Jeffery Farnol; I am chucking the George Macdonald Fraser on the realisation that actually Flashman annoys me more than I enjoy the novels' agreeably warped view of history. The Robertson Davies is courtesy of a Jung-fancying aunt in early undergrad, and Jung really doesn't groove my ploons any more. I have absolutely no recollection of acquiring the Julian Barnes, it seems uncharacteristically highbrow of me - mother, if it's actually your book and I'm cavalierly disposing of it, please scream! (My mother's taste in literature is way more highbrow than mine, a point which probably wouldn't surprise my English department any). It is also something of a satisfaction to realise, lowbrow tastes notwithstanding, that I actually have no desire whatsoever to re-read Bridget Jones's Diary at any point. And apparently I've overcome the completist urge at least to some extent, I've kept the Couplands I actually enjoyed, and tossed the rest. The Chocolate Conscience is a history of the Quakers in the early chocolate industry, weirdly enough. It's kinda cute.

Still partially with the sf/fantasy, although starting to move into the bookshelves in the passage, which have non-fantasy and kiddielit sections. Some of these I haven't actually read, and have made a mature, adult judgement that probably I'm never going to read them. If you take any of the Brin or Asher you have to let me know how they were. Tracy, you may like the Benford on the grounds of hard sf writers called Greg. I am booting Mists of Avalon out of generalised irritation: as with the Donaldson, Fforde and Maguire it's amazingly and enjoyably cathartic to simply conclude that I can't be having with the varying degrees of pretension despite the authors' iconic status. The Steinbeck, Salinger, Carson McCullers and Spark are remnants of my attempt to read Serious Modern Literature when I was in high school, courtesy of a persuasive English teacher. It didn't stick.

Those of you who want any of these books had better get in quickly, Mac is evincing a tendency to say he wants all of them except one or two, and threatens to arrive with a bakkie.

More Kim Stanley Robinson. Why do I have all this Kim Stanley Robinson? I've only kept the Mars ones, which I thoroughly enjoyed. The Steven Erikson I bought because I had to mark a Masters dissertation in them; they were interestingish, but didn't really do it for me enough to warrant shelf space. I have limited sympathy for grim/dark/gritty fantasy. I am also, with a sense of vindictive satisfaction, getting rid of Thomas Covenant, which I've only really kept out of a vague feeling that I ought to as a good fantasy critic. Nope. Really, no. (The Philip Mann whose title you can't read is The Eye of the Queen. I bought the Philip Mann because a colleague recommended them as part of my Masters dissertation, and I referred to them in passing for half a sentence and never read them again.)

It is at this stage fairly possible that I've found myself a house rental, enabling me to remove myself from the domicile of the Evil Landlord, a gesture which will be accompanied by the unmistakeable sound-effects of stretching, twanging and pained meeping noises as deep-seated roots resist uprooting for all they're worth. Unless there's something fairly horrible lurking beneath the innocent surface of the rental agreement I should be moving within a couple of weeks, and have hence been forced to buckle down and, avoiding the ricochets of disturbed .303 bookworms, weed my giant L-space book collection so I have some faint hope of compressing it all into boxes for travel without actually collapsing the local space-time continuum. My study floor is currently bedecked with tottering piles of volumes, faintly tear-stained as a result of the emotional upheaval of deciding to chuck them.

I will, of course, stick most of them into voluminous bags and haul them off to the local charity shop, but before I do that I'd like to give CT-based witterers of the sf/fantasy persuasion (i.e. most of you) a crack at claiming any of them which look as though they might usefully enhance your reading life. Photographic listage follows. If you want any of these, please let me know and I'll label them yours and shunt them in your general direction via trained mongoose or brown paper parcel switches in the park, or something. (This is the first installment. It's approximately a sixth of them, and I haven't tackled the non-sf yet).



The house, for the curious, is a semi-detached recently-renovated two-bedroom Victorian in Lynfrae, which is a subset of Claremont; I re-toured it this morning in the company of Claire and Stv for moral support and second opinions, and they like it as much as I do, which is quite a lot. And it's not just because it's bucketing with rain at the moment and the whole world is a nicer place.

My subject line is, of course, Terry Pratchett, although I can't remember which book it's from and am callously leaving that as an exercise for the reader.

I'm rather late on the bandwagon with this - I've seen mention of The Lizzie Bennet Diaries on the web over the last year or so, but what with the urgent need to read all the Avengers fanfiction, never really got around to watching them. (Apparently internet distraction time is finite rather than infinitely expandable. Which, given the infinite expandability of the internet is something of a problem. Oops.) Today I am wandering around in a bit of a daze, bumping into things, because I was up until after midnight fascinatedly watching a modernised Lizzie Bennet deal with Darcy revelations and Wickham fallout, and am consequently somewhat short on sleep. I'm at around episode 90 out of 100 (it's just finished, making this a good time to leap on board for people prone to my need for instant narrative gratification). It was significantly difficult to drag myself away in the small hours.

The Lizzie Bennet diaries are two things: (a) a beautifully-realised and highly intelligent modernisation of Pride and Prejudice via social media, and (b) proof positive that Jane Austen still has a fan following - still speaks to people, even modern internet-savvy people whose lives revolve around phones and tweets and job opportunities rather than marriage and social class. The show consists of 100 2-5 minute weblogs from Lizzie herself, with extensions into Twitter, Facebook and Tumblr accounts and a couple of offshoot video blogs (Lydia, mostly), and a fan following who interacts with the characters as though they're real. It strips down Austen's narrative to show only central characters, while peripheral characters such as Mr and Mrs Bennet or Catherine de Bourgh are represented by quick (and often very funny) theatrical impersonations by Lizzie and various hapless assistants. It's a show about social media on several levels, not just in its own transmission formats, but in the daily life and concerns of its protagonists. At the heart of it is an intrinsically conscious equation between Austen's social awareness and social media awareness, an insistence that culture is culture regardless of its technological paradigm.

I love and frequently re-read Pride and Prejudice, and I love this adaptation: it's funny and sensitive, and above all beautifully acute in its awareness of the central themes of the book, and the way in which they transcend historical context. The equivalences the show makes for Charlotte's pragmatic acceptance of Mr Collins, for Wickham's desecration of Lydia, for the whole socio-economic edifice of Pemberly and Darcy's wealth, beautifully encapsulate the spirit of the original while cheerfully updating its letter. (Their version of Mr Collins is sheer genius, both in concept and in execution. Also, obviously Darcy is a hipster. Suspenders. She says darkly.)

Where the series most blows me away, though, is in their treatment of the Wickham/Lydia plot. I was a bit dubious about how they were going to handle it given contemporary sexual freedoms, but updated, and with Lydia's greatly increased interiority, it becomes heartbreakingly cruel. It fascinates me, that the trauma and heartache displayed on video in this version are such an exact and faithful match to the trauma and heartbreak (although more restrained in expression) in Austen's original. She wrote about people, how they love and betray and survive, and above all how they agonise about their appearance in the eyes of the world. Even more so given the power of our technology, so do we.

Lo these many moons ago, strawberryfrog introduced me to the Phryne Fisher mystery stories by Kerry Greenwood. A couple of years later, after some slightly addictive behaviour involving Loot, my credit card and my burning desire to read more, I have the whole collection, or at least those that are still in print. In my usual spirit, i.e. with my apparent and not particularly subliminal need to infect those in my immediate vicinity with whatever cultural effusions currently grab my attention, I shall now proceed to babble about them.

Kerry Greenwood is an Australian writer and the books are set in Australia, mostly Melbourne, which is a city I loved utterly after a two-day stay. And they're period pieces, 1920s, mid-Wars, which you can gather from the beautiful artwork here reproduced. (I love their covers. Striking, and minimalist, and absolutely atmospheric). Also, the books are well-researched: I am always obscurely cheered by an author who lists her references at the end of her novel. 1920s Australia is fascinating, both in comparison to the 1920s literature I'm more familiar with, which is very British (P.G. Wodehouse et al), and in its identity as a colonial space with resonances with our own South African history and experience. And the setting is shown with some really quite acute and occasionally nasty political realism. They're never actually gritty, but the stories dally repeatedly not only with murder but with abuse, rape, torture, poverty, back-street abortions, child slavery and the occasional severed ear.

Phryne herself is a beautifully-constructed icon, offering a fascinating balance between the above grittiness, and wish fulfilment (she's young, beautiful, rich, aristocratic, efficient and Bohemian). I like her because she's kick-butt effective at what she does, but also because she's a poster kid for various political manifestations of which I heartily approve. There is something of a Utopian gloss on her activities, which don't really have the serious social repercussions they ought to have, but they're nonetheless heartwarming. I think the Australian context is possibly less repressive than it would be in England, but there is still enormous prejudice against the Jews, Chinese, Socialists, prostitutes, anarchists, homosexuals, Bohemian poets, circus folk and various other categories of individual she cheerfully associates with and, in many cases, has ecstatic sex with. In the 1920s, Bohemianism notwithstanding, she's doing it all in the teeth of considerable social disapproval, which she either blithely ignores, or the perpetrators of which she confronts head-on in order to wrest them to less bigoted behaviour by sheer force of personality.

Above all, Phryne is a feminist icon. Not only does she represent agency and political awareness, but her sexuality is defined in terms which are directly appropriated from a particularly male stereotype which affirms the value of pleasure without either exclusivity or attachment. The stories are well-written detective pieces - and the Wodehouse echoes are in more than the setting, there are occasional phrases which, if not quite in the Performing Flea category, are neat and witty enough to make me laugh out loud - but they also chronicle Phryne's unabashed and wholehearted dalliances with a long string of beautiful young men. She's a vamp, and proud of it. The vamping doesn't in any way impair her intellectual and physical efficiency: she's a very cat-like creature, selfish, fastidious and hedonistic at the same time, and capable of being absolutely merciless when appropriate.

This multivalent strength, while rather rose-tinted, is also nicely rationalised. One of the huge attractions of the setting to me is the way in which it weaves the First World War into Phryne's life. Her origins and childhood are in lower-class Australian life; the wholesale swathes the war cut into the British population raises Phryne's family to nobility and wealth by dint of killing off all the other heirs. But she's an extremely reluctant aristocrat in many ways, and runs away from suitable marriages in order to, at the age of seventeen, drive an ambulance in the trenches. The blood and slaughter, and her need to deal with it in order to do an essential job, tempers her: she's a sprung steel construction in many ways, and you can see how she's earned that strength. She then refines it by hanging around Bohemian Paris for a couple of years as an artists model, while incidentally being taught street-fighting by Les Apaches. When she roughs up Australian wharfies who deserve it, you don't feel that it's too far-fetched.

This is not serious reading; it's detective pulp, and proud of it. But it's enormously pleasurable reading, not just because of the appeal of its main character and the rag-tag band of eccentrics which make up her world, but because of its unexpected historical and political layering. The feline creature which these novels represent may be unrealistically beautiful and effective, but she has teeth.