It Doesn't Have To Be Right…

… it just has to sound plausible

Reading diary, #51

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With a TBR in the low four figures, it’s reached the stage where I’ve owned books for decades without having got around to reading them. This is, quite obviously, pretty dumb. So for several years now I’ve been trying to plan my reading, making a list of the books I intend to tackle in the coming month… But then, of course, the new shiny drops through the letterbox, and sometimes its lure is a little too strong and so it supplants one, or more, of the books on the TBR… Which is certainly what happened twice in the half a dozen books below.

Her Pilgrim Soul, Alan Brennert (1990, USA). I picked this up at Kontur in Uppsala last month, and ended up reading it on the train from Manchester Airport after stupidly leaving the book I had been reading on the plane. To be honest, I’d not been enjoying that book – it was The Music of the Spheres, and the writing was pretty bad – so it was no great loss. I was annoyed, however, about losing the 100 Yugoslavian dinar note I’d been using as a bookmark. (Um, I see there’s one for sale on eBay, from a seller located not all that far from Manchester Airport – they’re asking £1.40, although the market price appears to be 99p…) To be honest, I thought I might have read Her Pilgrim Soul before, but on reflection I think I’ve read some of its contents before – likely in one or another of Gardner Dozois’s The Year’s Best SF anthologies, which I used to buy for many years. It’s a collection of well-crafted stories, a mix of science fiction and fantasy, most on the light side of either genre (but not the lighter side), and most not especially memorable. It’s been more than a month since Kontur, and I can remember very little about the contents of Her Pilgrim Soul. A good collection, I suppose, but in a way that has no lasting impact and leaves only a vague impression. Fiction, of course, should do more than that; but most manages much less.

The First Circle*, Alexander Solzhenitsyn (1968, Russia). I suspect I like the idea of Solzhenitsyn as a writer more than I like actually reading his writing. If that makes sense. I’d no real desire to read Solzhenitsyn until seeing Sokurov’s Dialogues with Solzhenitsyn (see here), and when I saw a copy of The First Circle, and immediately linked it to Sokurov’s The Second Circle, a favourite film, then I was suddenly keen to read Solzhenitsyn. And now I have read him – this book, and A Day in the Life of Ivan Denisovich last year (see here) – I’m wondering what all the fuss was about. True, I’m not reading him in the original Russian, so any infelicities in prose and style are more likely the fault of the translator, but… Well, the two books by Solzhenitsyn I’ve read so far are blackly comic works about the inhuman excesses of Stalin’s regime. And, well, I knew that, I knew Stalin was, and still is, the worst despot this planet has ever seen, responsible for a vast number of deaths, more perhaps than many historical epidemics. He killed more Russians in WWII, for example, than the Germans did. The First Circle, which is quite a hefty novel, covers three days among the inmates, and others linked to them, of Mavrino Prison, which is actually a secret penal laboratory staffed by politicial prisoners and others pulled from gulags and labour camps. Compared to others in the Soviet prison system, they have it cushy. But not as cushy as the family of the prison head, which includes his son-in-law, a young and upcoming diplomat, who foolishly telephones a doctor about to leave for Paris and warns him not to hand over some medical data to the West as he had threatened. The authorities were, of course, listening in… but they can’t identify the caller. Fortunately, some of the Mavrino inmates, and some of the equipment they’ve built, could help the MGB… The contrast with the lot of the prisoners and the diplomat’s family is stark, as is the contrast between those in Mavrino and their previous experiences in the gulags. Solzhenitsyn manages to find the nobility, and venality, in his prisoners, and paints them vividly as people. But the endless reiteration of bureaucratic cruelty – epitomised, if not literalised, by the treatment of the diplomat in the Lubyanka after his arrest – does pall on occasion. The First Circle, despite its short narrative timeframe, is surprisingly rambunctious, but less philosophical than I had expected – although, to be fair, most, if not all, of the references to Russian literature were lost on me. I still like the idea of Solzhenitsyn as a writer, and I still have another of his novels on the TBR, but I’ve yet to make up my mind about his actual writing.

Modern Masters of Science Fiction: Iain M Banks, Paul Kincaid (2017, UK). A housemate lent me a copy of The Wasp Factory back in 1987, and while it was certainly a memorable book, it wasn’t my thing. It wasn’t until I joined the British Science Fiction Association a year or two later that I discovered Banks also wrote science fiction – and I can remember finding a hardback copy of Consider Phlebas in WH Smith soon after, but at the time I would never have considered buying a book in hardback. Later, Banks was GoH at Prefab Trout, the second convention I ever attended, in September 1989, and I can remember a review of Canal Dreams in the programme booklet which described the novel as “a taunt thriller”. I think by that point I’d read Banks’s earlier novels – probably borrowed from Coventry City Library – the mainstream ones at least, but possibly also Consider Phlebas and The Player of Games. I’m pretty damn sure, however, that the first Culture novel I actually bought was Use of Weapons, which was launched at Eastcon, the 1990 Eastercon, in Liverpool. I bought the hardback and Banks signed it for me. I stil have it, of course. From that point on, I purchased all of his books in hardback as soon as they were published. (However, it wasn’t until a few years ago that I managed to track down first edition copies of the books before Use of Weapons.) So I guess you could say I am/was something of a fan. And yet, all those decades of reading him, but so few of his books seemed to manage the quality I expected of them – I enjoyed them, I appreciated them… but it always felt to me like he could do much better. I knew I was being unfair, but I could never help myself. And yet…. after reading Paul’s book on Banks’s novels, it occurs to me that my problem with Banks is that he rewarded careful reading but his prose was so effortlessly readable that I likely never gave his fiction the depth of reading which generated the most reward. And I reached this conclusion because Paul, a friend of many years, writes about Banks’s novels so well, so readably, that I want to go back to Banks’s books immediately and reread them and discover in them all the depth and goodness identified by Paul which I plainly missed… and knowing full well that I will also hugely enjoy the novels because they were always were, above all, hugely enjoyable. So, Paul, job done. (Although I’ll need more convincing about Transition, I think…)

The Killing Thing, Kate Wilhelm (1967, USA). Okay, I admit I bought this novel – at this year’s Eastercon – because of the dreadful cover art. Comparisons with, and references to, The Martian proved inevitable, although the book itself is set on some random alien desert world. Humanity has spread out among the stars and pretty much conquered everyone it meets, most of whom also happen to be human, but nice and fluffy and progressive compared to Earth’s bigoted, racist and sexist conquerors. On one such world, the protagonist of The Killing Thing, Tracey, visits an open-cast mine and sees an experimental mining robot. It kills its inventor, and is taken by Earth’s military establishment for study. On Venus. Where it escapes. And now Tracey is the sole survivor of a ship that tracked the killer robot to the random alien desert world, and he’s stuck on its surface in a lifeboat with limited fuel and supplies, and must hold out until rescue arrives, while the robot hunts him down and tries to kill him. If it weren’t for the background material – most of which is, quite frankly, offensive – The Killing Thing would be padded out beyond boredom. As it is, it still reads like a short story bloated beyond its natural length. I’d had a quite high opinion of Wilhelm’s fiction based on previous stuff by her I’d read, but that opinion took a bit of a beating reading The Killing Thing. When I restart SF Mistressworks – soon, I hope – then I’ll bung a more comprehensive review of this book up there. For now: not a good work from a usually good writer.

Central Station, Lavie Tidhar (2016, Israel). Once upon a time fix-up novels were pretty common in science fiction. Authors would take a bunch of stories, lash them together with a crude framing narrative, and then the whole thing would be presented as a novel. Some were more successful than others… but the fix-up is still an ugly, lumpy and lop-sided beast of a narrative form. Central Station, although presented as a fix-up novel, and on plenty of novel award shortlists, strikes me more as a collection of linked stories, although there is a story arc which progresses throughout it. I remember one or two of the stories appearing in Interzone and, at the time, I wasn’t especially taken with them. But given the success of this “novel”, and because several people have told me the stories work better together than they did in isolation, I decided to give it a go. And… it still doesn’t really read like a novel. But the individual stories do benefit from being in a collection. Alone, they felt incomplete, unresolved, whereas the novel shows that the resolution is merely cumulative and deferred. The title refers to space port in Tel Aviv/Jaffa, and the stories are focused on a handful of families who live in the environs. There’s no date – it’s the future of a century or two hence – which occasionally leads to weird inconsistences in the setting, a feeling that tropes are deployed when needed rather than being integral, or natural, to the background. The prose, happily, is uniformly good, which means the stories are a pleasure to read. But if each individual story feels slightly unresolved, the novel, as a novel qua novel, manages not to feel that way. I don’t think Central Station is as adventurous, or as challenging, as some commentators have claimed, and it probably says more about the way we now view awards, than it does the book itself, that it’s appeared on so many shortlists – I mean, Osama, A Man Lies Dreaming, those were genuinely challenging sf novels. But, on the other hand, Central Station is a well-crafted piece of science fiction, with visible writing chops in evidence, and such books seem all too rare in the genre these days…

The Spanish Bride, Georgette Heyer (1940, UK). I’ve no record of when and where I bought this paperback, but I remember buying half a dozen or so secondhand Heyer paperbacks when I was in Great Malvern for a Novacon. That was back in 1997… So, um, two decades ago. I don’t know why it’s taken me so long to read The Spanish Bride, or if that was indeed when I bought the book, given that I’ve read all the other Heyer books I own – all thirty of them –  and some I’ve even read multiple times. I suspect it is because it’s a war novel, rather than a frothy Regency romance or eighteenth-century adventure. If the cover doesn’t make it plain, the first chapter certainly does, as it describes the Siege of Badajoz in quite gruesome detail. In fact, as a novel of the Peninsular War, The Spanish Bride does a pretty good job. Its hero, Brigade-Major Harry Smith of the Light Division, is perhaps a bit too much of a paragon – if not in his intent or actions, certainly in his ability to avoid harm – and its eponymous heroine is also far too chirpy and accepting and… well, only fourteen when she marries to Smith… and it’s hard to read the book without that fact floating about in the back of your mind. Heyer makes an excellent fist of describing the Spanish landscape, and while the blow-by-blow accounts of the various battles seem both accurately- and carefully-phrased, I often had trouble picturing the progress of the fighting. I wanted to see maps, or wargaming tableaux, or something that indicated how the oft-professed tactical genius of the various English officers actually manifested. I know Heyer for her Regency romance novels and, skeevy sexual politics of the time (or of her depiction of the time) aside, I had expected that element of The Spanish Bride‘s plot to be uppermost. But it isn’t. It is, as I wrote earlier, a war novel. If anything, “English officer marries underage Spanish hidalgo heiress” is merely subplot. And yet, having said that, Heyer’s prose has a clarity and wit few these days can match, and it’s readily evident here. The Spanish Bride is not a fun book, but then I don’t think it was intended to be. It’s almost cefrtainly going to be the Heyer novel I reread the least number of times – assuming I ever do reread it, which is unlikely – but I’m nonetheless glad I did read it.

1001 Books You Must Read Before You Die count: 130

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