Time heals all wounds August 29, 2009Posted by dolorosa12 in books, fangirl, reviews.
Tags: anne rice, books, dark fantasy, fangirl, fantasy novels, jennifer fallon, reviews, sara douglass, tide lords, troy game, vampire chronicles
An appropriate sub-heading to this might be ‘Time heals all wounds, Tide causes them’. This is a post that has been at the back of my mind since about February, when I finally read The Chaos Crystal, the fourth and final book of Jennifer Fallon’s Tide Lords series. But the ideas have been with me since 2006, when I read two series that I found extraordinarily influential: Anne Rice’s Vampire Chronicles (yes, point and laugh now) and Sara Douglass’s Troy Game series. It’s probably fair to point out here that this post will be liberally sprinkled with spoilers for all three series.
What these books have in common is an emphasis on the theme of immortality, and its moral and ethical implications. In Anne Rice’s series, this immortality is the result of vampirism, and is an imperfect immortality – her undead can die, although, as the series goes on, you might be forgiven for thinking that all vampires are undead, but some are more undead than others. In Douglass’s series, the main characters are immortal through reincarnation. They all become bound up in the ‘Troy Game’, a labyrinthine weaving pattern that is linked to the story of Theseus and the Minotaur, the fall of Troy, and, eventually, the history of London. The characters screw up so epically in their first lives that they keep getting reincarnated (picking up various divine and semi-divine qualities along the way) in order to fix things up in their next lives. But Douglass’s immortals can – and do – die, provided enough supernatural firepower is thrown at them.
Fallon’s immortals are different. They really, really, really cannot die. Some of them have lived for millions of years. One of them, Cayal, has lived for several thousand, and is starting to get anxious. He becomes suicidal because he’s worried that one day he’ll get bored. (Fallon originally wanted to name the first book of the series ‘The Suicidal Immortal’, which gives you some idea of what she thought the focus would be.)
But whether the immortals of these books get their everlasting life from an exchange of blood, a malevolent, city-destroying Game or by walking through a fire (as in the Tide Lords), they share a concern with the way immortality affects people (and I use the term loosely, as you shall see below). Immortality does two things, not quite simultaneously.
It gives people freedom – that is, it releases them completely from the morality and constraints of society. On one level this means that immortals are free to be outrageous (the vampire Lestat becomes a rock star, swaps bodies with a human being to re-experience human frailty and mortality and goes on a Dante-esque journey through heaven and hell all within a few years; one of Douglass’s immortals is reincarnated as Charles II, surely the very definition of outrageous excess). On another, it means they’re free to outrage (Asterion/Weyland, the reincarnated Minotaur, plants an imp in the womb of Cornelia/Caela/Noah/Eaving which causes her constant pain and eventually rips its way out – and, being Douglass, this is the start of a beautiful relationship. That I also end up viewing this relationship as beautiful is either testament to Douglass’s talents as a writer, or a marker of my own insanity). Fallon’s immortals tend to be more of the second type – mad, bad and dangerous to know. The common thread is that all of them behave like the gods of Greek mythology: not omnipotent, not omnipresent, and certainly not omniscient, more interested in their own amusement and gratification, no matter how many human veins they have to drain, cities they have to flatten, or, in the case of the Tide Lords, worlds they have to destroy, to achieve it. This kind of immortality is at once intensely human – childishly destructive – and utterly inhuman – id incarnate. They see the world as their playground, even if the playground is built out of bones. When they notice human beings at all, they might as well be looking at an alien species, they are so divorced from what it means to be human. You see, human morality is utterly bound up in human mortality, the threat of death. Take that away, and the morality has to change.
(Oddly enough, to segue briefly away, this is how I’ve always viewed Cathy and Heathcliff. They’re so utterly, completely bound up in themselves that they cease to resemble human beings at all.)
This has other implications for the morality of immortality. You’d think the by removing the threat of death, immortals would be more compassionate to their fellow ever-living living ones, but no. Think of your Greek myths. Immortals love to hurt one another, but without death to restrain them, their torment eventually takes on the characteristics of a game. Oh, sure, the hatred might be vitriolic and caused by real grievances, but eventually it falls away due to the sheer weight of accumulated time. Life is too long to hold grudges. Just as siblings tend to be more forgiving of one anothers’ faults out of a kind of respect at having grown up in the same circumstances, immortals in this type of literature will eventually forgive and even love their deadly enemies out of a kind of respect for their shared existence.
Time heals all wounds, you see, and time stretches on awfully long if you don’t have an Asterion with whom to share it.
‘If I heed your words, that is all I that I shall ever have’ August 3, 2009Posted by dolorosa12 in books, fangirl, life, memories, quotes.
Tags: books, fangirl, pagan chronicles, philip pullman, quotes, sara douglass, writing
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I’ve been wanting to do a post of quotes for a while, and now seems the right time to do it. I’ve been keeping a little notebook of quotes for about 10 years now, adding to it whenever I read or hear a particularly well-phrased set of words, and I’m almost at the end of the book, so today seems a particularly appropriate era-ending date for committing the words to cyberspace. I’ll try to keep things vaguely chronological.
‘People who read are always a little bit like you. You can’t just tell them. You have to tell them why.’ – Catherine Jinks, Pagan’s Crusade.
‘Tell them stories.’ – Philip Pullman, The Amber Spyglass.
‘Many different lamentations came to pierce me like arrows
Whose shafts were barbed with pity.’ – Dante Alighieri, Inferno, XXIX, 43-44.
‘She held the spindle as she sat
Erinna with the thick-coiled mat
Of raven hair and deepest agate eyes
Gazing with a sad surprise
At surging visions of her destiny
To spin the byssus drearily
In insect-labour, while the throng
Of goods and men wrought deeds that poets wrought in song.’ – George Eliot, chapter-heading poem to Daniel Deronda, chapter 51.
‘A man who cannot draw strength from himself but only from litanies and anthems, is far more dangerous than one who after reading a handbook thinks he can drive a car or plane.’ – Lajos Zihaly, The Angry Angel.
The entirety of Jorge Luis Borges’ short stories ‘The Witness’ and ‘Everything and Nothing’.
‘If I heed your words that is all
that I shall ever have.
If I have no sword
where then shall I seek peace?
A sword might win a Peace’s time from tumult;
no peace have the hungry,
and so the Peace is made from the work of gathered days
the many’s many choices.’ – Graydon Saunders and Jo Walton, ‘Theodwyn’s Rede’.
‘I have been a prize in a game
I have been a queen on a hill
From far and far they flocked to see me.
White I am, amongst the shadows,
My shoulder is noted for its fairness
The two best men in all the world have loved me.
My crown is of apple, bough and blossom.
They wear my favour but my arms are empty.
The boat drifts heedless down the dark stream.’ – Jo Walton, ‘The Three Great Queens of the Island of Tir Tanagiri’.
‘ “There is only one good reason for fighting – and that is, if the other man started it. You see, wars are a wickedness of a wicked people. They are so wicked that they must not be allowed. When you can be perfectly certain that the other man started them, then is the time when you might have a sort of duty to stop him.”
“But both sides always say that the other side started them.”
“Of course they do, and it is a good thing that it should be so. At least, it shows that both sides are conscious, inside themselves, that the wicked thing about a war is its beginning.” ‘ – T. H. White, The Witch In The Wood.
‘Begone from me, oh mortals who are pure of heart. Be gone from my thoughts, oh souls who dream great dreams. Be gone from me, all hymns of glory. I am the magnet for the damned. At least for a little while. And then my heart cries out, my heart will not be still, my heart will not give up, my heart will not give in – the blood that teaches life does not teach lies, and love becomes again my reprimand, my goad, my song.’ – Anne Rice, Blood Canticle.
‘Let the young sing songs of death. They are stupid. The finest thing under the sun and the moon is the human soul. I marvel at the small miracles of kindness that pass between humans, I marvel at the growth of conscience, at the persistence of reason in the face of all superstition and despair. I marvel at human endurance.’ – Anne Rice, Pandora.
‘No one can get in
It has a wall twenty feet high
have only ten foot ladders.’ – Ross Falconer.
‘To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life’s but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury
Signifying nothing.” — William Shakespeare, Macbeth (V, v, 17-28).
‘These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air,
And, like the baseless fabric of vision,
The cloud-capped towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with sleep.’ – William Shakespeare, The Tempest, (IV: i).
‘ “I think,” Tehanu said in her soft, strange voice, “that when I die, I can breathe back the breath that made me live. I can give back to the world all that I didn’t do. All that I might’ve been and couldn’t be. All the choices I didn’t make. All the things I lost and spent and wasted. I can give them back to the world. To the lives that haven’t been lived yet. That will be my gift back to the world that gave me the life I did live, the love I loved, the breath I breathed.” ‘ – Ursula Le Guin, The Other Wind.
‘Novii, novissimi – newer, newest. “The new” … “The newer newest. The newly come, no Novian but one. The newer branch of the Novian stem. No Novian but another comes to ruin you. Save yourself from that, if you think you can.” ‘ – Sophia McDougall, Rome Burning.
‘ “Are you Asterion?” “You flatter me, child, if you think me that malevolent”’ – Sara Douglass, Hades’ Daughter.
‘I have made Asterion “like”. I am a witch indeed.’ – Sara Douglass, Darkwitch Rising.
‘He understood for the first time that the world is not dumb at all, but merely waiting for someone to speak to it in a language it understands. In the fairy’s song the earth recognised the names by which it called itself.’ – Susanna Clarke, Jonathan Strange and Mr Norrell.
‘Other countries have stories of kings who will return at times of great need. Only in England is it written in the constitution.’ – Ibid.
‘There are few things on earth that couldn’t be improved by adding vampires to them.’ – Scott Westerfeld.
‘The North is full of tangled things and texts and aching eyes
And dead is all the innocence of anger and surprise.’ – G. K. Chesterton, ‘Lepanto’.
‘Nine things about oracles
Let me try to be clear.
The first thing is that nobody wants to know,
and yet you can’t stop asking.
The second is you all want reassurance:
be better off with a fortune cookie.
The third is that I don’t owe you anything,
you’re not what it’s about.
I see the tiles, sideways, sometimes,
tessera, tesserae, the way the pattern
plays out in fifths, the beat falling
unchangedly, a glimpse, a resposte in sixte,
and what will be set, sept, set down in stone,
the colours always ambiguous
even in the moment the threads part,
the owls crying in the october meadow
gods and time and weight, wait,
that one instant of vision, the curtain falling, parting,
there is a whole ocean
that ninth wave.’ – Jo Walton, ‘Nine Things About Oracles’.
‘Rushing down every path; that is the great madness.’ – Buile Shuibne, translated by J. G. O’Keefe.
‘Without foray with a king,
I am alone in my home,
without glorious reavings,
without friends, without music…
Without a house right full,
without the converse of generous men,
without the title of a king,
without drink, without food.
Alas that I have been parted here
from my mighty, armed host…
Though I be as I am tonight,
there was a time
when my strength was not feeble
over a land that was not bad…
in my auspicious kingship
I was a good, great king.’ – Ibid.
‘My transgression has come against me
whatsoever way I flee;
’tis manifest to me from the pity shown me
that I am a sheep without a fold.’ – Ibid.
‘Sad this expedition;
would that I had not come!
Far from my home
is the country I have reached.’ – Ibid.
There, through the broken branches, go
The ravens of unresting thought;
Flying, crying, to and fro,
Cruel Claw and hungry throat,
Or else they stand and sniff the wind,
And shake their ragged claws: alas!
Thy tender eyes grow all unkind:
Gaze no more in the bitter glass.
Beloved, gaze in thine own heart,
The holy tree is growing there;
From joy, the holy branches start,
And all the trembling flowers they bear.
Remembering all that shaken hair
And how the winged sandals dart
Thine eyes grow full of tender care,
Beloved, gaze in thine own heart.’ – W. B. Yeats, ‘The Two Trees’.
‘In America, it almost seems like family has become a code word for something that you can put a five-year-old in front of, go out for two hours, and come back secure in the knowledge that your child will not have been exposed to any ideas.’ – Neil Gaiman.
These are all literary (as opposed to quotes from cinema, TV or music) but I think that’s enough to be going on with for now.
When I was a child, the world seemed so wide March 22, 2009Posted by dolorosa12 in books, childhood, fangirl, memories.
Tags: addiction, american gods, books, buffy, catherine jinks, childhood, fangirl, fantasy novels, john marsden, joss whedon, memories, neil gaiman, nostalgia, pagan chronicles, philip pullman, sara douglass, victor kelleher, watchmen
For someone whose favourite series of books is about the absolute necessity of embracing conscious, adult existence, I sure spend a lot of time reminiscing about my childhood. On days when adult life seems to ‘suck beyond the telling of it’ (Gratuitous Buffy Quote #1), childhood experiences seem that much more wonderful, their joys that much fiercer, their emotions that much stronger, the whole 17 (to pluck an arbitrary number out of nowhere) years that much more meaningful than anything the previous seven have had to offer. Nowhere is this more apparent than in my attitude to my favourite texts (TV series and movies, but for the most part books) of my younger years.
It became apparent, in a couple of conversations with Sibylle, that I mythologised my personal canon of childhood to an absurd degree. Sibylle has set herself a rather awesome reading challenge this year: to read the best young-adult, science-fiction and fantasy novels out there. Since these are my three main genres, I was happy to oblige with suggestions. What we both noticed was that I was constantly saying things like ‘such and such a book was my favourite book when I was seven’ or, ‘so and so wrote the books that meant the most to me when I was a teenager’. Although I have discovered texts that I adore since hitting the wrong side of 18, they are much rarer. (Hello, current crazy Watchmen obsession! Why don’t you stand up and take a bow, Great, Epic Fangirling of Scott Westerfeld and Cory Doctorow of 2007-8? And let’s not forget the time that American Gods reduced me to a quivering heap of awed silence.)
But a recent post of Sibylle’s forced me to reexamine my rather blinkered, uncritical view of my childhood canon.
I’ve also watched Grease (1978) for the upteenth time. It was my favourite movie when I was 13, which means nothing as to its quality. I’m very suspicious of my teenage and childhood loves as I don’t think half of them were based on merit. You won’t find me writing about how wonderful something is based solely on my childhood memories of it.
Ouch. Even though she assures me this comment wasn’t aimed at me, it did make me think that I needed to assess exactly why I champion my beloved texts of childhood so fiercely.
One of the things I’ve noticed about adulthood is that you have much less time to be a narcissist. (Somewhere, my mother is rolling on the floor laughing at this admission of her most narcissistic of daughters.) I know this sounds odd coming from someone whose idea of a good time is to sit in her room, reviewing books on the internet while talking to people on IRC, but the pull of the ‘real world’ is slightly more insistent once you’re an adult. If nothing else, there’s a need to earn money to support an expensive lifestyle of Buffy boxed sets, fantasy novels and, once in a while, food. Childhood and adolescence, in contrast, offer many opportunities for sitting in one’s room, thinking about how such and such a novel (or film, or song) PERFECTLY ENCAPSULATES ONE’S LIFE. (That is, if one’s childhood is as wonderfully middle-class Canberran as mine was.) But it is not merely opportunity that causes this vastly expanded childhood canon.
I’ve realised that I like texts in three different ways. These can be roughly summarised thus:
- Head: These texts appeal to me solely on an aesthetic level. I appreciate the technical proficiency of their creators, and in some cases, their complex themes, but I feel no desire to reread or rewatch them. I can’t list any examples because, once I’ve read or watched such texts, they exert no further pull on my imagination.
- Head and Heart: These texts are aesthetically pleasing and speak to me on some personal level. They have some kind of meaning that either fits in with my worldview or has some relevance to my life, and tend to encourage me to want to write about them and discuss them with others. The majority of the books of my childhood would fall under this category, as would most of my current personal canon (Sophia McDougall’s Romanitas series, China Miéville’s books, Steven Saylor’s Roma Sub Rosa series, Dollhouse, most of the immrama that I’m writing about for my dissertation).
- Head, Heart and Soul: These texts are technically proficient. They possess themes which speak to me on a personal level and make me want to write about them and discuss them with other fans. But, most importantly, they make me reexamine who I am, make me want to change, to become better, to think more. These are the texts that I would quite possibly die to save. Thinking about these texts makes my life worth living.
This last category contains such things as His Dark Materials, Buffy, Firefly, Sara Douglass’s Troy Game series, Parkland, Earthsong, Firedancer, The Beast of Heaven and Taronga by Victor Kelleher, The Tiger In The Well by Philip Pullman, The Vampire Chronicles, Catherine Jinks’s Pagan series, Adele Geras’s Tower Room series and book The Girls in the Velvet Frame, John Marsden’s Tomorrow series, Jorge Luis Borges’s Labyrinths, American Gods by Neil Gaiman, Small Gods by Terry Pratchett, the films Amelie and Waltz With Bashir, A Little Princess by Frances Hodgson Burnett, Ballet Shoes by Noel Streatfield, Jo Walton’s Tir Tanagiri Saga, Cirque du Soleil’s show Quidam, Buile Shuibne, and the graphic novel Watchmen.
Of that list, only American Gods, Small Gods, The Vampire Chronicles, Buile Shuibne, The Troy Game, The Tir Tanagiri Saga, Waltz With Bashir, Firefly and Watchmen were read/watched by me when I was an adult. And of that small list, the only ones read/watched by me after I finished my undergrad degree were Waltz With Bashir, Watchmen, American Gods and Small Gods. That’s a very small proportion of a rather large personal canon.
I do read slightly less than I did as a child (when I would routinely read three books a day), but that can’t be the only reason. Of the three books a day I read as a child, after all, not all became Head, Heart and Soul books. Why, then, are so few of the texts that have meaning for me texts I’ve discovered as an adult?
It’s not a reflection of quality. Objectively, I know, for example, that the Pagan series is of a much higher quality than the Vampire Chronicles, and that Victor Kelleher is a much better writer than Sara Douglass. I might (after doing Honours in English literature, working for five years as a book reviewer and two years as a feature sub-editor) know a bit more about what makes for bad writing than I did as a child, but none of the ‘childhood canon’ books on my list are badly written. I’ve read them all many times as an adult, and they remain as wonderful now as they seemed to me as a child.
Perhaps it has something to do with the relative complexity (and stability) of one’s adult identity in comparison to the fluidity of the identity of a child. A child is, to a certain extent, unformed, and capable of possessing many facets, not all of which must be satisfied in a work of fiction. Thus, the part of my child-self that consoled itself through ‘supposing’ was satisfied with A Little Princess, while the part of it that thought all humans were beasts found expression in the works of Victor Kelleher. I did not require a text to be all things to all parts of my personality, and so was satisfied with texts that embodied just some parts of that personality. As an adult, I require more of my texts, and so, for the most part, am disappointed in this regard. A text must, as I wrote elsewhere in this blog, speak to me and for me and and about me, but it must do so to and for and about all parts of my identity.
That is asking a lot of a text. In fact, in the face of my high-maintenance requirements of texts, it’s a wonder any have managed to find their way into my personal canon at all since I turned 18. So thank you, Neil Gaiman, Terry Pratchett, Ari Folman, Alan Moore, Sara Douglass, Jo Walton, Anne Rice, crazed anonymous medieval author of Buile Shuibne, and Joss Whedon for somehow finding a way into the seething mass of contradictions which make up my mind, heart and soul. Sometimes, your writings are the only things that make me feel anything for this confusing, terrifying, beautiful and heartbreaking thing called adulthood. For this, I am eternally grateful.
Tags: alt-history, are you asterion, dark fantasy, fangirl, philip pullman, sara douglass, urban fantasy
That quote, from Hades Daughter by Sara Douglass is a fairly representative sample of Douglass’s favourite themes and plotlines. Basically, her books are about frankly despicable, almost pathologically violent men learning how to love, and brutalised women learning how to be brave. (Stern-man-meets-damaged-girl, essentially.) Of course there’s always some kind of Grave Threat To All Humanity lurking in the background; in some of her books, such threats can linger menacingly in the background for thousands of years while her mentally screwed up characters work through their various psychoses over the course of several reincarnations.
In her best series, such as the Troy Game books (from one of which the above quote is taken) and the Crucible books, Douglass works within recognisable history (she’s a former early English history lecturer, and it shows), so that her characters are people like Henry Bolingbroke, Dick Wittington, Harold Godwinson, Edith Swanneck and William the Conquerer. (Of course, they’re also the children of angels and mortal women, or the reincarnation of refugees fleeing the Trojan War or whatever.)
You might’ve noticed that I’m a fantasy-reading tragic, and I have been for some time. However, over the years, I’ve narrowed down my fantasy-reading tastes to more specific sub-genres. Philip Pullman aside, I prefer my fantasy tall, dark and immortal…er, make that dark (such as stuff by Jacqueline Carey), urban (such as China Miéville) or alt-historical (Jo Walton and Sophia McDougall are good examples of this sub-genre). Otherwise, anything with vampires.
Well, I’m not sure about the vampires, but Sara Douglass usually comes through with the goods in relation to my other three fantasy sub-genres. Her books are historically rich, set in the seedy underbellies of an urban landscape (usually London) and dark dark dark. Everything I could wish for in a book. I’ve been nervous to stray from her alt-history series, though, since I was worried my respect for her would wane if I read anything of hers approaching epic fantasy.
But today I decided to bite the bullet and try her Axis trilogy. I’m only about 200 pages into the first book, and I’m pleased to report that I’m loving it. It might be high fantasy, swords-and-sorcery stuff, but it’s got the Sara Douglass touch. I think I shall enjoy reading the next two books, and then the follow-up trilogy (and then the first book in the follow-up, follow-up trilogy). So that’s me set for the next…four or five days.
In other news, I’ve finally bought Once Upon A Time In The North and will endeavour to get a review up here at some point.
And in case you’re wondering, Asterion was another name for the Minotaur. Here’s the Wiki entry if you’re interested.