No, it only seems that long since my last post.
And you know I haven’t been idle. Nossir, not this author.
Besides, judging by the surge in subscribers of late, apparently I don’t need to post regularly. All these new people signing up to my blog and I’ve hardly said a word since Christmas…d’you folks realize the mixed messages you’re sending?
I’ve been in heavy duty editing mode since mid-December, really bearing down on this new novel of mine. Definitely making encouraging progress but refusing to let up until my perfectionism and obsessive-compulsiveness cry “uncle!”.
Just about ready to talk in more detail about this latest project, which has been assigned an official release date, May 1, 2015. Gimme a couple more weeks and I’ll be answering some of the queries regarding the book friends and readers have been zipping my way almost from the moment I announced its existence.
I will tell you it’s yet another departure for me, a “genre” I haven’t tackled before. I like to keep my readers on their toes, doncha know.
During my thirty year career I’ve written science fiction, fantasy, horror, mainstream/literary, western/cowboy, poetry, radio drama, music lyrics…what’s left? You’ll find out in a few weeks.
A fun time over the Christmas holidays–our little family reunited and this hundred year old house literally rocking on its foundations. Made out like a bandit, in terms of Christmas gifts. My tastes are extremely weird and varied, I’m very hard to please but, somehow, folks around me manage. I doff my hat to them. My favorite book I received was Victor Serge’s Memoirs of a Revolutionary–fantastic tome, I “Tweeted” a number of quotes, gems of wisdom and experience. Imagine hoisting a few tall, cold ones with a posse that included Serge, Walter Benjamin, Karl Kraus and, say, Albert Camus. That would make for some memorable bon mots, methinks. And maybe a fistfight or three (Kraus was a notorious prick).
I managed to read 107 books in 2014 (the second year in a row I cracked a hundred). My favorite books in terms of fiction were David Gilbert’s & Sons, as well as a couple of short story collections, Aliens in the Prime of Their Lives (Brad Watson) and Emerald Light in the Air by the great Donald Antrim. My colleague Corey Redekop asked a number of authors to compile their reading lists for 2014 and here’s my contribution.
Movies I’ve enjoyed over the last couple of weeks: “Locke” (starring Tom Hardy) and “Her” with Joaquin Phoenix. The former was especially good–Hardy carries the film single-handedly, a virtuoso performance.
Music? Mark Lanegan, The Stooges, Wall of Voodoo, The Swans, Jacqueline Du Pre, Gene Autry…the usual mixed bag.
But I’ve taxed your patience long enough.
Before I go, I want to thank the folks who’ve purchased copies of my latest collection, Sex & Other Acts of the Imagination. The brisk sales have surprised me and I’ll likely have to put in a supplementary order to my printer before too long.
Keep those messages and questions coming (email@example.com) and watch this space for more exciting news in the days to come.
Sale copies of Sex & Other Acts of the Imagination have arrived.
As you can see from the picture below, we’re already filling orders—and I’m happy to personally inscribe books for that picky literature buff on your Christmas shopping list.
You’ll find ordering info here.
And there’s still plenty of time until Christmas…
I can already detect a collective gnashing of teeth as Gaiman’s legion of fans leap to his defense, their counter-attack, predictably, hysterical, vitriolic and ad hominem. Shoot the messenger and deal with the actual, y’know, message later.
I know what I’ve just said might seem a tad critical and extreme at first glance but, as my hero Bill Hicks would say, hear me out.
Clearly, Neil Gaiman is effective at what he does. He sells a ton of books, has earned a bevy of prizes and a significant number of people await each new Gaiman release with genuine pleasure and anticipation.
All to the good.
And speaking for myself, I’ve found Gaiman’s stuff, for the most part, diverting, and he writes in a straightforward, unpretentious style. But upon opening any Neil Gaiman offering I’m immediately struck by the realization that this is not a tale set on Earth Prime—there is an unworldly feel to the material. Indeed, nearly everything I’ve read by the man distinguishes him as someone who, in one way or another, is a purveyor of modern day fairy tales and moral fables. But no one truly believes fairy tales or thinks they have any basis in reality. Do they?
And therein lies the problem.
That lack of credibility produces, I would argue, an emotional distance, a safety margin from which readers can observe the action without being unduly concerned with the fate of the characters. When your audience is granted that kind of dispensation, they stop closely identifying with the people at the heart of the story, stop caring. A potentially gripping yarn becomes merely entertaining. Good, escapist fun.
Doesn’t that pretty much sum up the Gaiman oeuvre?
While he tells a decent story, there’s not the kind of intimacy and closely observed detail that ramps up our emotional investment to another level. Think of the work of masters of the macabre Richard Matheson or Charles Beaumont. They frequently dealt with fantastic subject matter but in their best efforts (see: “Matheson’s “Mute” or Hell House) there is an unnerving sense that this creepy account could be real…and our concern for what the characters are enduring becomes all the more genuine and heartfelt.
Give him credit, Neil Gaiman is conversant with contemporary cultural touchstones, borrowing shamelessly from mythology (Old Gods and Sandman) or re-imagining familiar standards (Coraline). But, to me, none of his work succeeds at suspending disbelief. And while I see a lot of archetypes—vampires, werewolves, ghosts, the usual suspects—I don’t, frankly, detect much innovation or originality. Tropes and stock monsters, employed in a standard story arc, with (almost invariably) happy, satisfying resolutions. Gaiman’s approach to writing is quick, punchy, visual; perfect for graphic novels. Illustrative but not particularly deep or insightful. His characters speedily sketched, unceremoniously thrust into peril, even mortal danger.
There was a hand in the darkness, and it held a knife…
(First line of Neil Gaiman’s The Graveyard Book)
Ah, yes, The Graveyard Book. In that 2008 novel Gaiman presents us with the story of a young human child raised in a cemetery by a variety of well-meaning ghosts and supernatural creatures. Clever, but by Page 50 my interest in the central character, Bod, was purely academic: how would he be successfully re-integrated into human society? The rest of the book zipped past in a blur.
Likewise, I was almost immediately turned off by The Ocean at the End of the Lane. A more recent effort (2013), it’s told (mostly) from the point of view of a child whose observations are so mature and thoughtful as to defy credulity. I disliked the book from its initial pages and it never really caught on with me. Finished it out of a sense of obligation, not joy.
It strikes me that Neil Gaiman is a perfect author for our sped up, ADHD-afflicted society. He writes moderately well, with visual acumen, setting the table quickly, not bothering with niceties like realism or verisimilitude. His fans will say I’m being unfair—after all, with fairy tales the effect is more important than the nuts and bolts of narrative (and perhaps they’re right).
But there’s a fine line in dark fantasy and horror literature, a point where the author must create the impression that what we’re reading is actually taking place, expend every effort to ensure we’re fully immersed in the story, crying and bleeding along with the protagonist, experiencing their dread as the knob starts turning, the door inching open. If we have no faith in their ordeal, no stake in what’s happening to them, the writer has failed us, failed to devise a scenario that is, at once, dramatic and nerve-rending and, despite our best efforts to think otherwise, believable and authentic.
Personal, intimate horror. What really goes on in the dark.
That’s what scares us and leaves a permanent mark on our psyche.
Fairy tales are fine for children, but surely adults require narratives of more depth—aesthetically sound and literate and, at the same time, unrelenting and provocative, seeking to exact an emotional toll, while defying and frustrating expectations.
It’s time Neil Gaiman started writing for grownups.
People old enough to know that in life there are no happy endings…and no such thing as a great artist who stoops to please.
I comment on different topics: “The Writing Life”, “Inspired by Fear”, “Why I Love Science Fiction”.
Hope you find something worthwhile in these monologues, insights into the way I approach my craft, the psychology behind some of my best known stories.
In the week since I’ve wrapped up work on Sex, I’ve been in kind of a “transition” phase, as I prepare for another edit of my novel-in-progress.
I couldn’t just dive back into the novel after spending several weeks tinkering with a batch of really dark, harrowing short stories—I needed a break, a way to ease into it.
I go through these periods every so often and it’s during these times that I create some of the strange short films and ambient musical pieces that you’ll find under my “Films/Music” tab. It’s also when I’ll retreat to my cold, damp basement and slap some acrylic paint on canvas for a few days. Experimenting. Playing.
And I’m prone to sudden attacks of poetry, as well.
Which is what happened this time around.
For the past 7-10 days there’s been a lot of scribbling going on around here and much of it centers around a suite of stanzas I’ve put together under the title “Sixteen Rites of Deconditioning”.
For at least fifteen years I’ve kept a couple of notebooks devoted to…I’m not sure what you’d call it. Automatic writing? Free associations? Visions?
When I’m in a certain mindset I feel a compulsion to scrawl words, disjointed sentences, dream sequences, snippets of verse. The spell only lasts a few hours, a day at the most, but I’m often surprised by what these sessions produce. Recently I decided to go through both notebooks and write down certain key words or lines or themes that stood out. Once I assembled a roster of these bits, I began to shape them, dividing them up, juxtaposing certain parts, creating fascinating fusions, collisions and cross-fertilizations.
I was delighted with the end result and just posted “Sixteen Rites of Deconditioning” on my Scribd page–I encourage you to zip over there and cast you eyes over a mind-blowing poem, by far the longest and most complex I’ve written to date.
I welcome your comments and reactions—the poem is certainly subject to a variety of interpretations and I’m interested by how people experience “Sixteen Rites”, if it strikes any familiar chords.
Am I plugged in to the zeitgeist…or spending far too much time alone in my office?
Let me know what you think.