Tick Tock

Like the viral marketing/content trough where people watch videos they hope will make them feel alive, even as each virtual second wrenches them further and further from the feeling that anything will ever be okay, ever again? No! It’s just the sound of the clock ticking down to the end of the Three and Two and Two ebook sale ending on Sunday! Buy it today, and perhaps escaping into a pocket of literary fantasy will forestall the gloom for another day!

No, I don’t guarantee it. It’s a pretty awesome book, though, if I’m allowed to toot my own horn.

One way or the other, though, thank you to all my readers. I hope you are doing well and that you have a lovely weekend!

One Wing, One Eye, Chapter 1: Diplomacy in a Lawless Land

Crossroads is finally starting back up here! For those of you just joining, this is the first (unedited) chapter of the sequel to Three and Two and Two. Similar to the way the story has appeared on the blog up until now, this is neither formatted as it will be in the final version (e.g. prologues and interludes may be absent or presented out of order) nor is it necessarily even what this chapter will look like in the end. I’m excited to be continuing this journey with you all–if you would like to catch up on the story so far, check out Three and Two and Two here!

“We believe that you speak the truth,” the white-gowned man said.  “The Sculptor will surely see that no aggression was intended.”

Bleeding Wolf leaned back in his creaky wooden chair and met the speaker’s gaze across the table.  The man, Elder Stephen per the introductions, had a familiar sort of face–the type on which Bleeding Wolf could see glints of the arithmetic the man perceived in every relationship, every exchange.  The kind of face that belonged to shrewd merchants.  Or connivers.  

The meeting was nominally to discuss the breach of diplomacy that had occurred a little over a week ago, on a job Bleeding Wolf had undertaken upon making it to town.  His group had encountered a rival group of Holmite scavengers in the Bloodwood, and they had killed three of them.  Apparently, no survivors had made it back, and the mayor had anticipated that concessions would need to be made to unwind the tensions.  But despite Stephen’s assurance that the offense to the Crossroads’ largest trading partner had not been grave, Bleeding Wolf did not think the negotiation had yet begun.

“That is good to hear,” Mayor Bergen replied, acknowledging the opening salvo.  “We nonetheless regret that this bloodshed occurred, and we would like to send along an apology in the form of goods, perhaps including whatever you may require from our artifact dealer during this visit.”  Stephen smiled and shook his head.  Gracious, condescending, characteristically Holmite, Bleeding Wolf thought.  A counteroffer was coming.

“That will not be necessary.  We have already visited Marko.  His prices were very accommodating, given the circumstances.”

The two acolytes sitting beside Stephen nodded their affirmation of this detail.  They, Bleeding Wolf had decided, were definitely not connivers.  They were zealous idiots, eyes practically sparkling with their dearth of questions.

“The spirit of the apology is appreciated,” Stephen continued.  “But I would propose a more even exchange.  Rumors run upon the wind of danger approaching the Crossroads.  Holme, of course, would also be affected by the Blaze’s southern encroachment, even incidentally, but we also do not believe Holme’s involvement to be incidental.”

“Oh?” Bleeding Wolf interjected, breaking his silence.  “What do you mean?”

“The members of our flock whom you…encountered in the Bloodwood were contracted by an itinerant dealer, one Salaad of hazan.  Salaad’s remains were discovered a little under a week ago in one of our field communes, scorched.  Two dead dragonlings were found nearby.  It does not stretch the imagination to suggest that his death may be connected to the survivors you mentioned failing to return to us.  And–” Stephen gestured toward the mayor, “–it is known that attacks upon the dealers are growing more common of late.”

Bleeding Wolf grunted at this.  The logic was absurd: The Ben Gan Shui’s probing attack on Marko’s office certainly had nothing to do with the Blaze killing Salaad of Hazan.  Even the reasons behind the attacks probably had nothing in common.  But Stephen’s overture had little to do with logic.  It was rhetoric that appealed to the mayor’s priorities.  Stephen knew it, Bleeding Wolf knew it–hell, Bergen probably knew it, even as he was eating it up.  But it worked:

“That is certainly the case,” Bergen said.  “And we would welcome closer ties with Holme in the face of these new developments.”

“Excellent,” Stephen replied, smiling just a little too serenely before launching into the details of his proposal.  Bleeding Wolf stopped himself from rolling his eyes at the honey, the saccharine eloquence spritzed like perfume over the duplicity.  Fucking politics.

He glanced at the empty chair on his side of the table.  Funny, he thought, that the most distracting political gesture of the meeting was actually that empty chair.  It should have been occupied by Atra, the newly-appointed commander of the Crossroads’ militia, but she had a matter come up which, she claimed, urgently required her attention.  Bleeding Wolf was sure the excuse was bullshit.  For one, it seemed highly unlikely that any such matter could not have been overseen by Anita or Michel, the Crossroads’ long-standing peacekeepers.  But even beyond that, Bleeding Wolf harbored doubts that Atra even experienced the feeling of surprise.  This was a woman who calculated every decision, every step, and so far, it seemed her only slip had been the arc of mana she had exchanged with Bleeding Wolf when they shook hands a few days ago.  All he knew for certain was that she was a mage, one of the most terrifying he had ever encountered, but by the same token, he was sure that her missing this meeting meant that she had very purposefully wanted to miss it.  He wondered why, and he wished that Mayor Bergen–who certainly noticed but didn’t seem to care–would put a little more effort into wondering himself.

“…then we shall await your delegation in the coming weeks,” Stephen was saying as Bleeding Wolf tuned back in.  “There remains one symbolic request, though.  It is the Sculptor’s teaching that conflicts should be resolved through mutual sacrifice, of the kind which begat the dispute.  Given that our disagreement began in bloodshed, the Sculptor requests that agreeable blood be shed to close the cycle.”  Bleeding Wolf inhaled sharply.  Uh oh.

“Do you mean an agreement sealed by a drop of blood?” Bergen asked.  “Or something more substantial?”  Stephen shook his head with a theatrically solemn frown.

“My apologies.  The blood itself is metaphorical.  The Sculptor requests a life.”  Mayor Bergen drummed his fingers on the table, showing entirely too little shock at the request for Bleeding Wolf’s liking.

“Must the sacrifice be willing?” he asked after a moment.  “Or simply willingly provided by the Crossroads?”

“The latter will suffice.”

Bleeding Wolf shook his head.  Gene wasn’t going to like this.

***

Looking over his shoulder at the busy town square, Gene paused before Marko’s theater-office.  He wasn’t sure what he was looking for, he realized.  He wasn’t actually concerned that he had been followed, and it wasn’t as if he were doing anything forbidden.  Marko’s office just made him uncomfortable.  It had made him uncomfortable ever since the time Marko had almost shot him with a crossbow when he’d come by unannounced, and the furtive look behind, he supposed, was just an expression of that discomfort.  Grimacing, he swallowed it and rapped on the door.

“Appointments only!” came the muffled response.  Gene glanced about once more before half-shouting at the door:

“It’s Gene!”

There was a moment of silence before the door creaked open, revealing a wizened, androgynous figure in a brown habit.  It was Brill, the apothecary.

“Oh good, you’re here,” Gene began.  “I wanted to–”

“Not here, Gene.  Let’s discuss inside.”

Brill receded quickly into the shadows of the entryway as Gene raised a hand to object.

“It’s nothin’ secretive…” he said, though it was clear that Brill wasn’t listening–or at least didn’t care.  He sighed, following them in.

He noted with disappointment that he had to tilt the door on its hinges in order to close it.  His apprentice, Jeremy, had built it about a week ago to replace the one that had been destroyed during the Ben Gan Shui’s “visit”, but this was terrible craftsmanship.  Gene would need to send the boy to Frank and Erik, he decided.  He could teach smithing well enough, but his carpentry was beginning to slip.

Inside, standing over a table set up in the theater’s cleared-out audience floor, Gene found both Brill and Marko, the Crossroads’ prickly, paranoid artifact dealer.

“Speak of the fuckin’ devil,” Marko muttered, looking up.  Gene blinked.

“You were…speakin’ about me?”

“You had better see this, Gene,” Brill added, beckoning him to the table.  Shuffling over, Gene saw that they were considering a piece of parchment with a detailed sketch upon it.

The sketch depicted a scene at a long table where five men engaged in some sort of negotiation.  The man in the foreground was leaning back from the table, some degree of dismay flashing across his face.  He looked familiar, Gene realized.

“Is that…Dog Boy?”  And then he noticed the caption scrawled at the bottom of the page, where Bleeding Wolf’s sketched torso faded into the margins: Gene wasn’t going to like this.  He looked at Marko, alarm bubbling up in his chest.  “What in the shell is this?”

“The most artistic invasion of privacy you ever did see,” Marko replied with a sour grin.  “Really gotta give whichever mage that thought of it some credit.”

“It’s a scrying artifact, of a sort,” Brill explained.  “You ‘tell’ it someone you want to see, and it sketches their context in that moment.”

“Got it on the sly from an old contact in the Westwood,” Marko said.  “Needed a way to follow along with whatever Atra’s tryin’ to do.  But Brill’n I got curious as to what was goin’ on in Dog Boy’s meetin’ with the Holmites.”

“What does it mean that ‘Gene won’t like this’?”  Marko shrugged.

“You should ask Dog Boy.  But I reckon you ain’t gonna like it.”

“Guess I’ll have to,” Gene said, shaking his head resignedly.  “I came here for you, though, Brill.  Had folks wanderin’ by the shop wantin’ to know when you’d be back.”

“My apologies, Gene,” Brill replied, a twitch of frustration nonetheless crossing their face.  “Dull moments are seeming more and more a distant memory these days, and I’m trying to stay abreast of the…political situation.  Between Marko’s read and Bleeding Wolf’s warning, I am concerned about Atra.”  Gene nodded.

“You ain’t the only one.  John’s playin’ with fire.”

“He is.  I agree.  But his read on the landscape is sensible.  The Crossroads is growing less safe, and Mayor Bergen is right to respond.  Moreover, the town’s opinion of Atra so far is quite high.  Anita is quite enamored with her, and the relationship between the merchants and the militia has remained entirely amicable.  They do not interfere, and people feel safer when they’re around.”

“Sure it’s easy to seem decent when you ain’t doin’ nothin’,” Marko spat.

“Of course,” Brill agreed.  “But we must be careful, lest our attention to detail be mistaken for common xenophobia.”

“Hmph,” Marko grunted.  “Wanna let ‘im in on the latest?”  Brill looked back, pausing a moment before recognition set in.

“Yes, that’s right.  There are two updates: The first is that Atra has an accomplice in town.  We only have what this–” they gestured to the parchment, “–can tell us, but we understand that the accomplice looks like a child.”

“A kid?  Godshell.”

“They are probably not actually a child, but I will admit, I am out of my depth as far as magic may be concerned here.  The second update, well.  Marko, would you show Gene our picture of Atra right now?”

Marko nodded.  He placed his hand on the parchment and closed his eyes momentarily.  The scene of Bleeding Wolf and the Holmites faded, and new strokes of ink began to line the page.  But these did not seem to form any coherent picture, instead just massing in blots and nests of chickenscratch.

“Been getting this more often in the last day and a half,” he said.  “My money’s on her figurin’ out she’s bein’ watched.  Dunno how she’s counteractin’ it, but she’s figured out how to hide when she needs to.”

“And apparently, she wants to be hidden right now,” Brill added.

***

A few miles outside of town, Atra sat upon a boulder, contemplating the trickle of the river through the reed-crowded shallows stretching before her.  She knew the river, knew what it encoded, though it continued to surprise her how many lifelong Riverlanders regarded it as a solely physical phenomenon.  There was old magic in the river, magic that even she could barely parse.  But she was only listening for a specific piece.

No.  Not yet.  It was the loosest end so far: What was Lan al’Ver doing down south?

She felt a sudden intrusion of mana, troublingly familiar of late, as an enchantment began to weave itself in the aether around her.  Fortunately, she was prepared: The strands had eroded somewhat in their travel from the Crossroads, and she needed merely to nudge one out of place to disrupt the weave.  Instead of an oculus, the enchantment resolved to a tangled mass and began to dissipate.

“What the fuck was that?” Cirque asked, suddenly perched on the boulder beside her.  She side-eyed him, this ragged, piranha-eyed not-child with rats scurrying off him, into the swamp below.  It was enough to make her laugh: She could glean temporal portent from the river’s flow, she could parry a metamagical scrying attempt, mid-formation, but even she couldn’t keep track of Cirque.  He was a valuable ally, and she was glad that the relationship had little risk of inverting.

“Marko, most likely,” she replied.  “Been noticin’ oculi formin’ about me ‘round town.  Integrity falls off hard with distance, though, means it’s probably an artifact powerin’ it.”

“So town isn’t safe to talk anymore?  You might’ve warned me explicitly.”

“Yer a sharp one.  Ye caught on just fine.”  Cirque growled, a sound which might have come off as a pathetic mewl if not for the ominous chittering that reverberated through the boulder with it.

“We’re encountering an awful lot of resistance for what this town is,” he spat.  “Are you sure it will be worthwhile?”

“Ye tell me: Is the meetin’ with Holme done?”

“Yes.”

“And they took note of Salaad?”

“Are you second-guessing my work?”  Atra shook her head.

“Hardly.  I merely question the Holmites’ vigilance.  It seems ye got their attention, though.”

“At some cost,” Cirque muttered bitterly.  “You should try biting into a dragonling sometime.”

“An incandescent pleasure, I’m sure,” Atra said, considering the idea of napalm on her tongue with more curiosity than revulsion.  “They are amicable to reconciliation, then?”

“Yes.  On the condition that the Crossroads supply a sacrifice for one of the Sculptor’s insipid harvest rituals.”  Atra smirked.  It was almost too perfect: an alliance of rivals against the Blaze’s overwhelming threat of annihilation, with each harboring a tinge of toxic distrust for the other’s murder of their countrymen.  The makings of the tinderbox were there.  Now, it was simply a matter of preventing it from igniting too soon.  To which end, the political backlash from this would be Mayor Bergen’s to shoulder.  That, after all, was why she had not attended the meeting.

The mayor, she had to admit, was in an interesting position.  Laughably out of his depth, of course, but he wasn’t dumb.  He had seen her own ulterior motive plain as day.  But though he had the intellect and guts necessary for realpolitik in the lawless age of the scav trade, Atra doubted he had the skill, the wherewithal to deflect blame, or the instinct to predict when his allies would become his enemies.  More than likely, he would provide everything she needed from him, and then he would die.

The real problem was the folk who would never trust her.  Marko, to an extent, though he carried so little of the town’s favor that he might not matter.  But Gene and Brill–tradition was a potent defense against the brainfever she hoped to instill–and, of course, Bleeding Wolf.  She would need to be careful with those ones.

“I still think we should kill him,” Cirque said, as if reading her thoughts.  “The beastman.  He knows what you’re up to.”  Atra groaned.

“Not all of it.  Not yet,” she said.  “And like I told ye before, there are others watchin’.”

“Apparently,” Cirque replied, with a significant look at Marko’s withered enchantment.  “And I think it’s time we took some countermeasures.”

“Fine.  If it please ye.  But no assassinations yet–all the pieces are still too important.”

“What, then?”

“Keep an eye on Marko.  If he finds another toy to use against us, it’d be better we find out before and not after.  The apothecary too: That one holds more of the strings than they let on.”

“And–”

“Leave Bleeding Wolf to me.”

What’s on Sale and What’s Next

Well, the first topic is easy: Three and Two and Two is available in ebook format everywhere for $2.99 until August 27th! Check it out here! Unfortunately, the print version is not currently discounted, as my print publisher is not especially agile with price changes. I’m looking into alternatives, but those won’t be for awhile.

Looking forward, I’m working on a few projects. The first is Whom Emperors Have Served. For those of you who have been skipping past those posts (because you don’t dig the unedited manuscript content, or for whatever reason), let me offer some context:

Whom Emperors Have Served (the working title of the overall story for which the first book will likely be titled $20,000 Under the Sea) is a mashup of the otherwise neighborly genres of noir, Lovecraft, and good-old-fashioned 19th century adventure-sci-fi. It’s a story of a group of misfits in the orbit of New York City’s rich-and-famous who are, for various reasons, roped into a celebratory voyage on a Titanic-like ocean liner, only to be plunged into a conspiracy of government secrets, monsters, and their own uncertain identities. The first book will hopefully be released within the next year!

Meanwhile, I am also writing the second book in the Crossroads series–working title: The One Winged Lark and the One Eyed Crow–in parallel, albeit somewhat behind. I’m looking forward to beginning to share draft chapters for it in the coming days. Thank you to everyone who has read Three and Two and Two. I’m looking forward to continuing the adventure with you!

Strange, Lucid Faespeak

A review of Alice, by Gary Gautier. Obligatorily, the “low-class art” in the intro refers to my own genre work and not the book being reviewed.

It’s a strange paradox of the modern world’s educational edifices that aspiring artists only receive meaningful training in the production of low-class art in the context of great prestige, at the greatest expense.  I mean, sure, you can take a few free credit hours of “modern film” your senior year of high school to help pay off the district’s gambit to persuade you not to spend your lunch break on the bike path across the street, getting blasted on some guy’s blend of low-quality cannabis, but that generally doesn’t train you on much.  Meanwhile, if you would like to attend USC’s high-cachet rockstar school for approximately $1 bazillion per year, you are suddenly in a very competitive environment.

The economics are deceptively obvious: Cynically, teaching enduring classics shields criticism, absolves educators of the responsibility for excessive insight, etc.  But the other side pushes hardest: Marvel is big business, and if you want to speak to the masses, the system will only spend the money teaching you how if it thinks you can succeed.  Dollars are expected of you, so either put skin in the game or get to work.

All this to say, I did not attend rockstar school or its literary equivalent, so virtually all of my training in the written word has been on more highbrow material.  I suspect this is common for genre authors like myself, where the glitz of speculative fiction was left as an exercise for the writer.  Less common, perhaps (or not, I don’t know you), I really enjoyed that training, I have literary aspirations, of course I try to return to it often.

Today’s return is Alice, by Gary Gautier.  Gary is a neighbor in the blogosphere (you can check him out here), and he was kind enough to consent to me posting this review.  Unsurprisingly, I recommend the book–it’s a quick read, an enticing dream, a novel take on post-apocalypse.  I make no claim to a “final” reading of it.  I’m sure I missed a few things, but that’s part of the fun of analyzable literature: The point of the puzzle is that the solution is not trivial.

Before I get to the meat of it, I want to note that the below contains some spoilers.  My isolated take is that preserving the surprise of Alice’s plot is somewhat beside the point, but if reading those sorts of revelations early bothers you, I encourage you to read the book and then come back.

Now: The premise of Alice is that Alice (the character) lives in an idyllic, egalitarian commune in the woods and is having some strange experiences.  Like dreams but waking, less hallucination than astral dissociation, paired with the inexplicable experience of change.  For example, in the very first paragraph, she perceives that the constellations in the sky have changed.  Much is made of this, of course, and it remains ambiguous whether the change was material or perceptual.  She mentions it to other characters, and they acknowledge something, but they seem mostly to be acknowledging Alice’s perception rather than a physical change in the world that is salient to them.  These changes, alongside visions and conversations with individuals who are dubiously “there”, are bewildering and concerning to Alice, but it’s notable all the same how long she does nothing about it.

Okay, so the real draw here isn’t the plot.  It’s the prose (which later validates the plot).  It’s faespeak, highly simple, almost the literary equivalent of “plain English” legalese, but informal, hazy, and full of reference to commonly-understood memes.  At the risk of comparing it to something it’s not really like, it reminds me a lot of Madeleine Is Sleeping, a very different book about dreamlike hazes.  But it’s a book about dreamlike hazes.  Whimsy is definitionally protean, and it takes the form of Kingdom Death: Monster just as well as that of A Midsummer Night’s Dream.  Her somnolence is technical, surface level, and her flights of fancy are more worldly than fantastical, but practically speaking, Alice is asleep.  Part of this is literal–it is revealed that the ladybugs flying throughout the commune are robotic, designed to acoustically pacify the people around them–but much of it is still literary.  Alice is chock full of circumlocution of the fact that, while she is very reasonably confused at the unfolding of her ethereal meta-world, she is neither incompetent nor dumb.  She is clearly capable of synthesizing from the information she has, and she has more information than she should due to her metaphysical connections.  But she still lacks agency for much of the book.  Materially, this is the same reason most people lack agency: She doesn’t know what she wants.  But this manifests as an aimless seeking of answers only to be shunted from her path, gently but repeatedly, by random happenstance, by people who also do not really know what they want but seek control because it’s there to seek.  Psychoanalytically, this looks a whole lot like resistance, a projection of Alice’s inability to act, onto the external structures that theoretically should bind her but really don’t.

This perspective, that of the individual within the world, nominally surrounded by power structures meant to corral populations, but in reality gated only by their ability to control/change themself, to want things, to act, feels to me to be where Alice is at its strongest.  This may be projection–I may still be high on Sadly, Porn, but the core thought is not especially uncommon.  From Alice:

“The pointlessness of all the rebellions in El Dorado–the deliberate pointlessness–that was the point.  Changing the world is vanity.  The revolution must be subjective, or at least physical in the body, not physical in the world.  That’s why Alice felt her body changing.  Subjective transformation first, and the change in the world will follow.  You can only change the world from the inside out.  Those who would start by changing the outside world are starting all wrong.”

Alternatively, at a somewhat lower reading level, from Netflix’s Nimona:

“Ballister: No matter what we do, we can’t change the way people see us.

[Pause]

Nimona: You changed the way you see me.”

To be clear, that isn’t a criticism.  Life’s most important lessons are often deceptively ubiquitous, and literature’s role is to affirm insights–it virtually never makes an insight that’s actually new.  And Alice affirms this notion–that human power over the world originates within the self–beautifully, piecing it into a framework of interconnectedness not unlike the oneness and being you might encounter in the midst of an acid trip.  This is intentional, of course: Alice’s dream-insights arise from the…unique qualities of her genetics, but she finds herself connected to individuals who became connected in this way, literally, from drug use.  Why this is such a common experience with psychedelics in the real world is an interesting topic.  I won’t address it here, but the assertion that said interconnectedness is a real thing that the drugs simply give access to is, at the very least, reasonable within the bounds of literature.  Still, it’s on the threshold of where I think Alice stumbles.

As an affirmation of those theses in psychology and social connection, Alice does a fantastic job for as long as Alice’s experience is foggy enough to ward off the insufferable mosquitoes of material reality, the annoying inquiries of “yeah, but does it actually work like that?”  Having written a whole novel manuscript with a plot predicated on a quantum-mechanical basis for sentience (and extinction), believe me, I relate to the challenge of making up believable science, but Alice’s invocation of the economic history of the Hoarder Wars, the lab and the social control schemes of El Dorado, the Mitochondrial Eve–one has to wonder if the coherence of the argument might have been improved with less scientismic dei ex machina.

I’m not entirely hostile to it, and I will readily admit that there are a lot of cool meta-dynamics within those details, but writing realistic but fantastical hard sciences is, well, hard.  The inner workings of chaotic systems are stupendously difficult to discern; paraphrasing Lou Keep, it’s unclear whether there is anyone alive who really understands how “the economy” works.  So when Alice postulates a delta within a single lifetime, from 1970 upstate New York to a post-apocalyptic-war clean slate in which there are two towns and a total population of ~300 people (and almost no one has any memory of the war, and also no meaningful technology has been lost, and actually significant technological strides have been made, etc.), I 100% understand it’s not the point, but the material details are distracting.  I don’t think it’s entirely the text’s responsibility to provide those details, but it provides just enough that the HOW?! in the back of my head is deafening.

My feelings are even more mixed (though, to be clear, for the better) on Alice’s use of genetics.  The book employs the Mitochondrial Eve, the matrilineal common ancestor of all living humans, as a symbol for the ebbing of possibilities and the cyclical repetition of human history.  Putting aside the perhaps unnecessary paradox of those two concepts being symbolized by the same entity, I found myself a little distracted by the fact that that’s neither how genetics work nor how they are used.  Said differently, I found the actual subject of genetics to be a poor substrate for what it felt like the book was trying to get at.

But there’s still something cool here: A prevailing theme in Alice is ancestral connection, which is experientially, psychologically, a very key part of what it means to be human.  And I get it, literature can be what we want it to be, and there seems to be a want for that ancestral connection to be more than experience and psychology–the want is for it to be real, for it to be true.  So Gautier asks: Why can’t it be chemical, embedded in our actual, physical DNA?

The answer: cryptography.  Since, to the extent that environmental factors get encoded into our DNA, they are encoded many-to-one, you can’t decode them backwards without a key.  The book clearly gets this at some level–much space is devoted to keys that would unlock this: the aforementioned psychedelics, an “elixir” brewed up by a young witch from medieval Germany whom Alice speaks to in dream space, a literal skeleton key that Alice finds early on.  The symbol of a key allowing one to access the encoded past is absolutely there.  

But it’s messy.  The encoding is literal; the key is metaphorical.  The Mitochondrial Eve, a temporally moving target (the common ancestor of all living humans changes depending on which humans are currently living) is framed as fundamental root potentiality and an inevitable return to “true alpha”.  The environmental information encoded in DNA–in reality, stuff like “drank a bunch of lead before adolescence” or “was, by sheer happenstance, good at throwing things and lived in an environment where that was relevant to survival”–is so far from what ancestral memory actually means to us that these sections just fall a little flat.  Though, reiterating, these are impressions and not a final reading–I would absolutely welcome discussion on this take.

Belatedly, I think another side of it is that the prose, which fits the buzzed out tranquility of the commune’s life excellently, is not a great match for technical description.  Consider Alice’s conversation with Faunus, the director of the lab at the rival town of El Dorado:

“‘Or maybe,’ continued Faunus, ‘the cyborg approach, using artificial intelligence and robotics.  Artificial intelligence will give you control alright, but it always tends toward total control, total surveillance.  All freedom is lost.  But now we’re getting back to the idea of the fascists, aren’t we?  But the fascists, as I said, were rooted out.  And robotics?  Sure, you can make someone faster, stronger.  But human nature?  No, the cyborg approach–artificial intelligence and robotics won’t do.”

I’ll admit that Pan the Venture Capitalist is a symbol I have not entirely unpacked.  But beyond his Greco-Roman cred, Faunus very much resembles a caricature that applies equally well to podcasting VCs and drunk hipsters at house parties: This is a guy, surrounded by people who think he’s a genius, who has absolutely no idea what he’s talking about.  All of his thoughts and perceptions are organized into neat, macro-philosophical boxes, labeled things like “Fascism” or “Artificial Intelligence” while he leaves the messy details/comprehension to his employees and/or no one.  I got the impression that this was at least partially unintended, largely because the tone (again, informal, full of imprecise commonplaces and memes) is kind of how Alice describes everything.  In context, I got the impression Faunus was supposed to sound ambiguously villainous, walking through the twists and turns of his plan for social control, but the language isn’t quite right.  Social control can be described from a wonk perspective (see Pigouvian taxes) or, more horrifyingly, from ideology (see Goebbels), but getting it in milquetoast party-chat over tea rather conveys the impression that none of the underlying machine actually works.  I mean, perhaps this was intended: In the end, the lab fails to achieve its (or, discernibly, any) goal and gets a couple people killed.  It’s a very digestible moral with regards to the desert of top-down social engineering.  My skepticism is merely with respect to the highly dubious intentions behind it–intentions which would have carried more weight had they been better thought out (or rather, expressed in the language of those doing the thinking).

Despite the criticisms, I don’t mean all the harping to be much more than a warning sticker in aggregate.  On the whole, I found Alice very much worth reading.  Despite the simplicity of the prose, it was literarily very crunchy, and though I wrapped it up some weeks ago, I’m still thinking through it.  Moreover, I’ll certainly be checking out more of Gautier’s work in the future.  There’s something inspiring in this horribly modern era about his belief in human potential.  The faespeak, for all its limitations, makes for good dreams.

Some notes:

  1. Those who read my work frequently probably already know this, but I want to be clear that my use of the term “meme” is academic here.  I am referring to commonly-understood ideas and idea fragments, not to Advice Animals.
  2. Because the book is titled Alice and involves journeys into dreams and/or the subconscious, I would be remiss to not at least mention the potential for references to Carroll.  I have not read Through the Looking Glass, so I don’t feel confident asserting anything in particular, but an allegory between the social control schemes of New Arcadia versus El Dorado and the opposition of the Red and White Queens does seem at least possible.

At the End of My Fork

A review of Naked Lunch, by William S. Burroughs.

Planned writing is kind of weird.  In terms of workflow, any writer out there will tell you that the way to do things, the way to beat writer’s block, get kickstarted, etc. is to just write.  I don’t disagree, of course, it’s just that the robot which runs our existence, Mr. The Economy, and its various amalgamated, algorithmic henchmen tend to prefer a few more control measures around the content.  They want you to write the specific things that fulfill demand.  In my fiction writing (pre-editing, anyway), I usually have most of the freedom I need to take the conventional approach.  On the other hand, my reading list, the review content I synthesize thereof, and the sOcIaL mEdIa PrEsEnCe it feeds, well, those all need planning.  Cadence matters to y’all (or so say my webpage stats), so it must matter to me.

Anyway, the next book I had put on my list was Naked Lunch.  I am not “ready” to write this review; the book is still worming its way through my brain; the extent to which I “get it” is not much farther than a certainty that there is something to get (skeptical readers: I promise you there is).  It honestly feels something like the congealing protoplasm of one of Burroughs’ junk highs–gobbets of meaning sloughed off of reality, free-floating despite their truant obligation to be connected.  Burroughs himself helpfully reaches up and jigsaws some of the slime via postscripts and afterwords: this book is about the twisted economy of opiate addiction.  This book is about countercultural homosexuality.  This book is about capital punishment and the violence of invasive government.  Beyond that, based on secondhand accounts and editors notes, it seems like even the author was somewhat confused about what Naked Lunch really was.  It makes one feel better at least.

The book comes out swinging hard:

“I can feel the heat closing in, feel them out there, making their moves, setting up their devil doll stool pigeons, crooning over my spoon and dropper I throw away at Washington Square Station, vault a turnstile and two flights down the iron stairs, catch an uptown A train…Young, good looking, crew cut, Ivy League, advertising exec type fruit holds the door back for me.  I am evidently his idea of a character.  You know the type: comes on with the bartenders and cab drivers, talking about right hooks and the Dodgers, calls the counterman at Nedick’s by his first name.  A real asshole.  And right on time this narcotics dick in a white trench coat (imagine tailing someone in a white trench coat.  Trying to pass as a fag I guess) hit the platform.  I can hear the way he would say it holding my outfit in his left hand, right hand on his piece: ‘I think you dropped something, fella.’”

Yeah, so maybe you’re quick, but for most I expect the language hits like cold water.  The Beat slang, the pace, the not-really-stream-of-consciousness–more stream of words–simultaneously inscrutable and frantically modern (despite being written when my grandparents were kids).  I had to read it like three times.  You get used to it.  You have to, there’s a whole lot of book, and it’s all written at least as incoherently as that.

The book is nominally written in vignettes that can be read in any order.  I’m not totally sure if that’s true, but the chronology is by no means definite.  At the beginning, you can sort of settle into the makings of a narrative frame: You’re following Bill Lee, junky, dealer, all-around ne’er-do-well, as he flees west across the U.S., through Chicago, down into Mexico.  Context is hazy, descriptions of places and people are weirdly transient, allusions to titled-but-nameless figures such as “The Vigilante” or “The Rube” abound, and you start getting the picture of a heavy–but amusingly unhinged–noir.

But the descriptions get more and more detached from reality.  You encounter an anecdote of Bradley the Buyer, a cop who never actually does drugs but picks up a contact habit from the act of buying them in stings.  One thing apparently leads to another, and he turns into an ectoplasmic monster and assimilates his commanding officer.  Among other dubious accolades, Naked Lunch makes better use of the onomatopoeia “schlup” than any other in literature.  Anyway, shortly thereafter, the continuity breaks with the introduction of the highly disturbing Dr. Benway, and the ensuing 50% of the book’s material can best be described as phantasmagoria.

What does that mean?  Well.  It means it’s a great melting pot of senseless violence and animal sexuality; monstrously disinterested cruelty; every racial, misogynist, and homophobic slur imaginable–and others besides, along with a collection of derogatives that would certainly be more offensive if anyone used them these days–and for whatever reason, more semen than would be appropriate in erotica of a similar length.  “Um, was it worth it?”  Fuck if I know, though I can’t really say I enjoyed reading it.  I took two things from it, though: First, in its picture of “the Interzone”, it reflected some essence of the carnival nightmare of existence between cultural identities, something which Burroughs, a cultural public enemy in America who spent his life flitting between his home country, Mexico, Europe, and Morocco, must have understood deeply and darkly.

Second, well, a digression first: Burroughs states explicitly in an afterword that the more violent and allegedly pornographic sections of the book were intended as an indictment of capital punishment, a description that strikes me as…strategically incomplete.  The role of the state in dehumanizing, immiserating, and, yes, killing its populace is certainly spotlit in these and other sections of Naked Lunch, but the vitriol of the phantasmagoria seems to me to be about much more than government.  It feels almost like emesis, vomiting out a hideous concentration of cynicism, frustration, and fear which Burroughs might very reasonably have swallowed involuntarily in his fifteen-year journey as a junky and gay man in ‘40s/’50s America.  But he doesn’t seem to be much for naked self-pity.  Hence the form.

The book resolves to coherence again at about the 70% mark, where the madness of the Interzone gets grounded around a more meaningful description of its power players (A.J., Hassan, Fats “Terminal”, and the other Agents) and its political parties (Factualists, Liquefactionists, Divisionists, and Senders).  The former comprise the closest thing the book has to traditional characters–real personalities with (admittedly hard to decipher) wants, collaborating and competing toward their various and nefarious ends.  The parties, meanwhile, are some of the book’s more interesting allegories, representing, apparently, something closer to worldly philosophy than strict politics.

Literally, three of the four rely on the Interzone’s surreal physics in order for their outlooks to make any sense.  The Liquefactionists believe that ultimately, all of the protoplasm that forms each person’s essence will fuse into one.  For them, it’s true, zero-sum schlup or be schlupped.  The Divisionists are kind of like the opposite.  They are obsessed with replicating themselves, though their endgame–where one mass of replicants has outcompeted the others, and everyone is just a copy of the same person–is much the same.  Ditto for the Senders, a telepathic hive-mind in thrall to “the Sender” who collapses cyclically from the strain of sending all of themself to the receivers, leaving a void for a new Sender to fill.  The Factualists seem primarily concerned with antagonizing all of the other factions, leaving some ambiguity as to whether their “factuality” is actually pragmatism or simply contrarianism.

Crudely, one can map the Liquefactionists to a “conqueror/capitalist” mindset, one that perceives the world as a rat race to be dominated at an individual level.  The Senders are the religious, spiritually, and philosophically-inclined, who believe in the power of ideas, heedless to the inconvenient truth that in any given exchange, there is only one person talking at a time.  The Divisionists, meanwhile, are the culture warriors who perceive the good of civilization to be a numbers game (a decent parallel to the Birchers from Burroughs’ time, the precursor to the modern U.S. right-wing propaganda machine).  And the Factualists, with whom one must assume Burroughs identified himself, are the existentialists who, despite having none of the answers, are quite certain they disagree with all of the above.

Naked Lunch eventually ends in a dreamlike swirl of its dark images, leaving virtually all of its conflicts unsatisfactorily resolved.  But it was never a book about resolution.  It’s a book about going under, about the heavy, excruciating climb out of the water thereafter and the uncertainty of falling in again–or your ability to make it out again when you do.  I won’t say it’s a must-read.  A family member recently described a similarly unhinged book I recommended to her as “things you shouldn’t know”.  This is a lot like that and much more disturbing besides.  But it does feel true to a certain inebriated stream of experience.  I believe Burroughs, and I think I’m better for having heard his thoughts.  With some curiosity and an appetite for painful language, perhaps you might be as well.

Sales and Short Form

Happy 4th to my U.S. readers! And of course, for the remaining, (M.) Bison among you, happy Tuesday. I wanted to pass along a quick update that Three and Two and Two is on sale during the month of July on Smashwords. Head over there if you are so inclined, and you can pick up the ebook for only $2.49!

Also…

Or rather, I will be putting out a steady stream of shorter form content on Instagram. This will, of course, not replace the blog, but if life in photos and short video is your preferred format, by all means, check it out!

Image: From Inside, by Bo Burnham.

Today’s the Day!

Everyone! It’s finally here!

Three and Two and Two is now available at most vendors here! Most of that variation is going to be ebook platforms for now. If you would like to get it in print, Barnes and Noble is going to be the most reliable source. Amazon will also distribute it eventually, but they are currently working through an issue with their handling of certain ISBNs.

All the technicalities aside, the journey to publication is finally over, and I’m so happy you all could join me on it. There are more journeys ahead, of course: new adventures, new stories to tell. The exciting world of ads and marketing that I’m going to be embroiled in for the coming months. The much longer meditation of what this all means in the long run. But that is soon, and this is now. The book is here, and should you have time, I hope you’ll give it a look.