Tag Archives: charles schneider

My reading-lifetime’s Hall of Fame

Image by Tony Lovell (2011)

My reading-lifetime’s Hall of Fame in no particular order:

Charles Dickens, Christopher Priest, AS Byatt, Enid Blyton, May Sinclair, HP Lovecraft, Barbara Vine, Reggie Oliver, Anita Brookner, WG Sebald, Jeremy Reed, Ian McEwan, Elizabeth Bowen, Stephen King, Oliver Onions, Marcel Proust, Salman Rushdie, Glen Hirshberg, Paul Auster, Mark Valentine, John Fowles, Edgar Allan Poe, John Cowper Powys, Lord Dunsany, Algernon Blackwood, Jack Vance, Philip K Dick, Jeff VanderMeer, Samuel R Delany, Anthony Burgess, Susanna Clarke, Rhys Hughes, Lawrence Durrell, MR James, Robert Aickman, Sarban, Ramsey Campbell, Thomas Ligotti, Tommaso Landolfi, Kazuo Ishiguro, Quentin S. Crisp.

This is a list including writers I once considered in my Hall of Fame but now rarely read, and new writers whose works I read quite a lot and have included in my Hall of Fame fairly recently and variations upon that, but all have been major reading experiences some time in my life.  Apologies to those I’ve inadvertently omitted because of my semi-Proustian memory.

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Underlooked Weird Fiction of the Year

Overlooked fiction – some fiction is even understandably overlooked by those collecting the titles of the overlooked Weird books of the year 2011. But some fiction is underlooked…

The Peacock Escritoire – by Mark Valentine

Allurements of Cabochon – by John Gale

Amerika – by Karim Ghahwagi

A Pallid Wave on Shores of Night – by Adam S. Cantwell

The Mauve Embellishments – by Charles Schneider

The Bestiary of Communion – by Stephen J Clark 

The Exorcist’s Travelogue’ – by George Berguño

Alcyone – Colin Insole

Link Arms With Toads! – Rhys Hughes

The Secret Life of the Panda – Nick Jackson

Even The WEIRD: A Compendium of Strange and Dark Stories  that is also first published in 2011.

 
 Plus others I’ve underlooked myself!  And books that don’t fit the genre being overlooked.
 
Des, Author of ‘Nemonymous Night’ (2011) and editor of ‘The Horror Anthology of Horror Anthologies’ (2011) – both retrocausally interlooked or disturbed by ‘floaters’!

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The Master in Café Morphine

My scanning of huge dust jacket in necessarily two sections  – and my apologies for not managing its exact contiguity. (Its artwork is by Santiago Caruso).

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I’m due shortly to start below on this page another of my gradual real-time reviews, turning leitmotifs into a gestalt.

And it is of ‘The Master in Café Morphine’A Homage to Mikhail Bulgakov – Edited by Dan T. Ghetu (Ex Occidente Press MMXI). A contributor’s copy of the book.

There is no guarantee how long it will take to complete this review, whether days or years. Indeed, this is said with the knowledge that a busy Season is afoot and many people have calls upon my time. So I do not wish any of you interested in this review to keep returning to this page and finding nothing added. However, I do not know how to resolve this problem ….

CAVEAT: Spoilers are not intended but there may be inadvertent ones. You may wish (i) to take that risk and read my review before or during your own reading of the book, or (ii) to wait until you have finished reading it. In either case, I hope it gives a useful or interesting perspective.

All my real-time reviews are linked from here: http://dflewisreviews.wordpress.com/

All my Ex Occidente Press (Passport Levant) real-time reviews here: https://nullimmortalis.wordpress.com/2010/09/24/ex-occidente-press-real-time-reviews/

I am pleased to see this publisher (Dan Ghetu of Ex Occidente Press) is still prolific in publishing great books, contrary to what I was led to understand and as publicly anticipated by the publisher himself a few months ago. I hope the logistics of book delivery and authorial care have improved from what I was also led to believe publicly from various third parties some time ago. I’ve never needed to complain in respect of myself, I hasten to add.

Authors featured in this Anthology: Mark Valentine, Jonathan Wood, Stephen J. Clark, Colin Insole, Michael Cisco, Rhys Hughes, Adam Golaski, D.P. Watt, Adam S. Cantwell, Charles Schneider, Allyson Bird, Justin Isis, Nina Allan, Me, R.B. Russell, Eric Stener Carlson, Reggie Oliver, John Howard, Mark Beech, Albert Power, George Berguño.

I am told that two other stories,  A Certain Power by Mark Valentine and The Horned Tongue by Stephen J. Clark, were both exclusively written for this Bulgakov
homage anthology and that they have been excluded because they have appeared in other Ex Occidente books. Therefore, I shall be considering both these stories at the end of my review to judge whether this book’s gestalt would have been affected.

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At first glance – a massively gorgeous book, restricted to 100 copies, portrait format, red mock-cyrrilic lettering for some titles/headings/quotes, 370 pages, stiff pages, stiff textured dust-jacket, frontispiece (by whom?), and a design on heavy-duty board-cover within dust-jacket (a design by C.C. Askew of the Eternal Sekret Society?)

The quote at the beginning of the book seems of our time – with today’s UK politics – and in many more ways than one:

“The séance is over!
Maestro! Hack out a march!” – Mikhail Bulgakov

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Nine Exhibits – by Mark Valentime

“Mikhail Afanasyevich’s stove was one of the most well-read in Russia. It consumed many pages of his work.”

I couldn’t stop laughing at that, so I won’t resist risking a spoiler by making that my quote of the day for this review.  But, having said that, there is something even funnier here about a cat’s dream that I won’t quote by spoiling. But, then again, should a homage to Bulgakov be treated so lightly?  Only if death is inevitable, I’d say. And stories episodically maxim-al. (20 Jul 11)

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This book, as a book, is something you need to keep handling and looking at – an obsessive plaything, the playful dust-jacket design spiking itself, less than playfully, somewhere into an area that is the ‘Hollow Earth’ within you, that brings me to…

Beloved Chaos that Comes by Night – by Jonathan Wood

“To be alone in London, is truly to know loneliness from within a glass jar, where silent leeches come and go and journey across one’s face for evermore, marking out one’s allotted time in piteous slime.”

I recall reading Jonathan Wood in the late eighties or early nineties in the small press, with huge distantly-paragraphed blocks of Proustian-stretching prose – and I was captivated. Equally, here. This substantial story is the mutantly symbiotic tale of two cities, or two countries (England and Russia), a first-person singular protagonal actor turned involuntary playwright then terrorist tramp…  A fiction describing its own urban landscape as a writer’s block ironically filled with words… I shall need to let the story percolate in this book’s future context, as if it is due to be groomed beyond any moral compass, forced into words it did not intend to mean what they did mean, forced, too, into becoming a literary suicide-bomb for the yet unread stories to conceal about their hollow ‘persons’? (20 Jul 11 – three hours later)

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Behemoth’s Carnival – by Stephen J. Clark

“Yet these were the elect of the melancholy come to hear the old cat speak.”

With the ‘Meow!’ (from a previous Ex Occidente Book – Amerika – by Karim Ghahwagi – another Bulgakov homage?) ringing in my ear and recalling the implied Nine Lives of the Valentine story above – I enjoyed this Hadean / Avernal vignette or maxim-al fable  or anthropomorphic (anti-)religious tract in code or a new fish and loaves parable or mischievous mummery… (21 Jul 11)

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The Princess of Phoenicia – by Colin Insole

“That afternoon I sought solace and consolation in ‘The Hall of the Whispering Puppets’.”

‘Solace and consolation’ as in a Schubertian Grand Duo of history and legend – or Author and Reader. Reality and Truth, each not necessarily the same thing at all. Pontius Pilate and Christ.  You know, when you sense, as I do, that you are one of the very first readers of this story, let ‘alone’ one of its first public reviewers, you feel indeed alone with it, tantamount to the first reader and reviewer, tussling and grappling (in that Grand Duo) with portents and elements of Russian History, the stolen Madonna, her (blood-permeable?) jewels  and many other symptoms of belief (logical and superstitious in solace and consolation), a belief in undercurrents that politically explain or poetically ‘sing’ (by a lost balladeer) of the duo of conflict and tragedy from 1904 towards a large part of the 20th century through the eyes of blended tales within a tale: and I think I counted the tales properly: nine. If not nine in truth, certainly in reality. The extra odd one being the tale that contains the four duos.  But one author and, perhaps, only one reader – steeped ‘in soul’ and in time’s lonely, sometimes unscryable, audit-trail of truth and reality. This work makes the ‘synchronised shards of random truth and fiction’ passé. Meanwhile, the story’s  duo of style and language is exquisite. (21 Jul 11 – three hours later)

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The Cadaver Is You – by Michael Cisco

“As is reported to be the case in Hades, everything was washed out.”

In tune with our reaction to the previous story, in this artful Tarr & Fether provocation of ‘truth and reality’ we begin again ‘tussling and grappling’ with what we read and about whom – in an inverse sort of canine anthropomorphism – where we learn later that we are indeed struggling for meaning via another layer of characters with whom we feel we should empathise and sympathise while they read what we have just read as if we are now saner and less absurd and somehow less false than those about whom we had been reading.  The more of us there are the more brain size we control. So we shall wait for more readers to read what we have just read. For ‘we’, please read ‘I’ – until ‘you’ join me from where you are or hopefully from whom you are rather than from what you are or have become – or will become via scrying the astrology of  1712. (21 Jul 11 – another 2 hours later)

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The Darkest White – by Rhys Hughes

Chapter 0: Prelude / Chapter I: The Magnifying Glass

“There are many places in the world where east meets west, but Sukhumi is one where the north overlaps with the south so precisely that nothing comes of any attempt to detach them.”

Similarly, here is where the essence of Rhys-Hughesian fictionatronics that we all love seems, so far, to meet a relatively sane literary treatment of politics / history … but the best of both worlds rather than a straight blend. Indeed, this novellarette’s title is one of genius given the context of this book.  And, as I have publicly remarked before in my real-time reviews, many 20th century East European literary stories start in a cafe and here is no exception (the Cafe Morphine of the book’s title by the sound of it); the story-within-that-story also starts in a cafe, too!  We are promised that an object-in-hand will be explained by the inner story’s end, an inner story wherein we have another object, too, being sold as the three Zander brothers release experimentation mini-King Kongs (my expression, not the story’s) from cages while civil war encroaches and fleeing’s itch ensues – mixed with a “perverted economic basis” that reminds me of today’s news headlines of the mutantly simian attempts to call a default not a default in a more modern Europe…  An enthralling start to the novellarette. (22 Jul 11)

Chapter II: The Wisdom of Sticks / Chapter III: The Departing Treasure

“They showed him how to feign appeasement and how to give the impression of yielding while remaining in control.”

There is always much wisdom beneath the puns and wordplay of Rhys Hughes, and here the wisdom shines forth without such disguise as well as with it.  The numerology of not only economics but history.  And the ricochet of Ottoman and Armenian, White and Red…  The brothers – prior to arriving in Baku – make a creative form of Musketeer oath with each other – to be alone and/or together, an alternating current of strength and weakness. (22 Jul 11 – two hours later)

Chapter IV: The Scimitar / Chapter V: An Impulsive Decision

“Magnates had bribed the coalition authorities;…”

Now voyaging – towards a toxic lake, as it turns out, retrocausally – from Baku to a place with its own name’s redolent oriental aura: Bukhara – the brothers face various coalitions or ‘duos’, of sense and nonsense, true religion and false religion, blended pairs of reincarnatory existences – and the fraternal trio threatens to become a duo by dint of ditch or haha (my expression, not the story’s)  or by dint of that unhealthy lake’s premonition of one brother devoting his destiny to doom in the hope it isn’t doom at all but paired with or infiltrated by its opposite: fortune.  (Little does he know, I sense, that ‘fortune’, despite its positive aura, can be bad as well as good. Like ‘Bukhara’?). (22 Jul 11 – another 90 minutes later)

Chapter VI: On the Terrible Lake

“Nothing is what I hope to find.”

Nothing = this book’s earlier “Hollow Earth”. The single brother in devotion to his own Salt Lake City of the soul, in tune with mending by breaking and breaking by mending (akin to what I call the erstwhile ‘Musketeer’ oath) by dint of a multi-religion ‘nirvana’?  This is strong literature. White and red in tooth and claw. “The perfection would thus be imposed retroactively.” (22 Jul 11 – another 45 minutes later)

Chapter VII: The City of Defiance / Chapter VIII: The Bleeding Ears

“Those squares of the mystic chessboard known as nights and days passed with an impeccable shift.”

I truly admire this fiction as I experience the broad sweep conveyed of landscape / geography, historical perspective / knowledge, spiritual madness / sanity, as we follow the two remaining brothers (together, apart, together again), and eventually rumours of the ‘ice and salt’  lost brother, all three brothers perhaps providing some form of ‘Holy Trinity’ of the human condition: paradoxically together yet apart. (22 Jul 11 – another hour later)

Chapter IX: The Map /Chapter ∞ : Redemption

“They had reached the other café.”

In view of all the foregoing, this provides a shockingly perfect ending, for which you will need to read this novellarette to experience for yourself, to crystallise the ‘we’ from my ‘I’. Crystallise as in salt or snow under the magnifying-glass? Suffice to say Jonathan Wood’s erstwhile “Hollow Earth” was not a million miles away. Nor the anthropomorphism of King Kong? Or all that may be my subterfuge to detract from spoilers or Bolsheviks. (22 Jul 11 – another 45 minutes later)

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A Country Doctor – by Adam Golaski

“Briefly, I was distracted by the shape of a snowflake that reminded me of a poem:…”

A doctor called to and from variously-aged women, a girl patient, her maid, a previous girl patient’s donated embroidered-blanket to keep him warm on the urgent sleigh’s journey, yet another waiting for him to return – a Thomas Hardy, DH Lawrence, Anton Chekhov incident that haunts the stiff pages of this book, one of which pages might be used to funnel or chase dreams of forgetfulness in powder form…the sharpest funnel of all being the one that can deliver dreams of forgetfulness melted or distilled from the Winter of our souls by directly penetrating the skin with such a page’s words made fluid.  A book that is laden with more than just morphine.  A variation on a theme that allows this review to drain a story: thus to reveal an emotional essence that might otherwise escape, not unread, but unfelt. (22 Jul 11 -another 3 hours later)

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Archaic Artificial Suns – by D.P. Watt

“The line stretched around the street, into the distance as far as he could see. No doubt to the very gates of Hades.”

One of those stories that, in hindsight, will become a major reading event. ‘Queuing Behind Crazy People’ syndrome (some people labelled like lists in a Zoo), morphine queuing in the vein along the “tearing paper” that this book itself as a physical object conspires against but paradoxically encourages, Mikhail himself faced with a cruel theatrically Shakespearean charade-bouffe that takes on a dramatic, political, emotional, comic, cosmic truth via the two-way filter of a tapestried proscenium balcony-entrance, if not the last balcony or entrance of all. Towards or from the “galaxies of emptiness” that are the entrancing or entranced eyes that absorb these words like drugs. Then “kaboom!” like the Baboon of Nothing from ‘The Darkest White’. Itself awaiting another bearish buffoonery to follow. Exeunt Omnes. (23 Jul 11)

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Only for the Crossed-Out – by Adam S. Cantwell

“What could a tree’s devilish complexity mean to an ordered and just mind,…”

Well, you simply knew I was going to LOVE this story, [especially after editing and publishing the HA of HA!  This seems some sort of culmination of that spirit – albeit an exterior force – but, via the Cantwell-wrought spirit of our friend Mikhail, a welcome unexpected synergy with this other book]. It tells of a library censor (and includes a library policeman!) – the paradoxes of fashion affecting textual censorship in both creativity and spirit, retrocausal as well as linear – the books themselves igniting into their own form of prehensile, ink-veined anthropomorphism as they fall upon our censor down the chute – the ultimate book for dangerous heaviness and hybrid power no doubt being the very one in which I’ve just been reading this story!  I’ve often talked, over the years, about classical music being akin to fiction injected straight into the vein.  This story (if not the whole book) is the first occasion where I’ve genuinely discovered the ‘matter’ of fiction injected straight into the vein.  [And I’m glad I’ve encountered this story before my own fiction of self enters the baffle-less master-artery of death.] (23 Jul 11 – four hours later)

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The Fearful and Wonderful Phantasm of Time – by Charles Schneider

“A Great Demon, clearly one of Satan’s right-hand minions, was spotted in an expensive restaurant in Novgorod.

I was in Novgorod last year – but I visited a church there (for its iconostasis), not a restaurant.  This is a Blakean, Joe-Pulverian ‘synchronised shards of random truth & fiction’ disguised as stream-of-conscious – prose-poeticising the scatology of eschatology (and vice versa) – with many literary references and oxymorons. Brick by brick, like the censor’s library, aforementioned. “…Hell and Heaven are not to be found in an old book. They exist where the past and future intersect with geographical locations.” — “Each day I pack and send my treasured books away, to be stored in Dreamland.” — “…I saw a hinge at the base of the enshrined statue’s glass dome, as if it could revolve and display another statue after the polluted dusk arrived.” — “Hell is but Heaven for another Hell, and Another!” — “The Centropoli of Hades.” — “…garish massive faux toenails which the gold-chained simians truck about oh so proudly in,…” (23 Jul 11 – another hour later)

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The Black Swan of Odessa – by Allyson Bird

“Fiction does not feed my body.”

A cleverly intriguing story involving co-writers in a scrawny flat and their understudy of a ballerina neighbour who seems to bring truth to their one published work. As I read, I thought to myself, I am going to remark how there are many evocative ‘touches of detail’ (I used that phrase to myself) – and when you read it, you will know what I mean – but then the concept ‘detail’ later took on an unexpected importance. One of them “adored detail“, but was it God or the Devil in it? Like the detail that floats into the last paragraph…  A perfect, spooky ending, but, wonderfully, I don’t quite know why it is is quite so perfect, quite so spooky.

“…if Larisa’s dancing was anything like the control of her narrative she must have danced herself off the stage and into the audience at least once in her life.” (23 Jul 11 – another 90 minutes later)

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The Heart of a Man – by Justin Isis

“Kolesnikov, ensconced for years in the office of the Mir journal, had long been famous for his negative reviews.”

A story I need to read again (review, literally) – Hegel, meta-fictionary existences, Eyes Wide Shut rites-of-passage – and anthropomorphism explained by a human heart being placed within an animal  – reviewing books making them what you say they are, bad books good, good books bad, everything is its opposite, a reality-creation rolled out as meta-meta-meta…-fictions , more Bulgacoffian cafés, fiction (when demetaed – not demented – to its bottom bone) as the only reality, illicit love-affairs nodded through as part of an over-riding plot of fates one ultimately wants to come to fruition – and this story is not worth reading. It stinks.  For, read it and sink into nothingness, namelessness. “Within each apparent unity is a corresponding duality, and vice versa.” The Schubertiad of a  Grand Duo again (four hands on one piano or two pairs of hands on two pianos)? The ultimate negativity. This story will need re-reading forever, so for God’s sake resist even reading it once! “- he’s considering writing reviews and publishing them under your name. Would you agree to that?” (23 Jul 11 – another three hours later)

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Chaconne – by Nina Allan

“His chair had been gutted, slit straight up the back and disembowelled. The person that did this had presumably been looking for valuables,…”

Unquestionably a major story and, I guess, it is one of Bulgakov’s heart-and-souls of this book, if not possibly (as remains to be seen) the core one to fill the “Hollow Earth” of our receptiveness – and a Bulgakov virgin when this book began all those stiff pages ago would no longer be such a virgin having read to this point in the book, and even this Bulgakov virgin reader would by now have lithely shape-shifted from a snow-uncrystallised cat and “hunkered down” (as if during one of its nine lives?) at the book’s ‘feet’ into something akin to the Behemoth or Old Scratch.  This story – irrespective of all that – was certain to appeal to me. When I see the word Chaconne, I think of Britten’s String Quartet No 2 that has a Chaconne based on Purcell. Here, meanwhile, what I said earlier about classical music being fiction injected straight into the vein, really comes home to roost with a bird’s furled wings.  Brahms, Scriabin, Beethoveen’s’Hammerklavier’ &c. &c. – this story seriously drips with music and its prehensile notation, while contrasting with the destruction of pianos, human limbs, even whole bodies, as we follow Alena – a pianist and composer – retrocausally dealing with Europe’s diaspora of people and cities pre- and post the War, and with her lost lover, lost sister, and diverse forms of physical sex on the brink of being made music. Is this story the book’s gestalt? Or do I have to journey further to realise that this was just another way-station of leitmotifs? If the latter, it is a substantial one, honed to stylistic perfection. I can’t praise it enough. [I can now replace the black swanbird’s chair, its back resewn.] (24 Jul 11)

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The Tsarina’s Wintercoat – by me

“…tentacular monsters who, in the same way as human beings, had insect-pests with which to contend – “

Written some years ago in its original form, I’ll leave others to comment on this vignellarette.  I’ll only mention it again if it has some bearing on the book’s eventual gestalt. As it does already, perhaps, when relating the following quote to Rhys Hughes’ earlier ‘Holy Trinity’ variation: “From behind the derelict station house, I approached the solitary threesome (guessing that such a few could sometimes feel more solitary than being truly alone as one).” (24 Jul 11 – two hours later)

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The Exquisite Process of Gala Gladkov – by R.B. Russell

“I was carving some panels that were to form the backs of a set of chairs…”

– interrupting which ostensibly incidental work was the arrival of the carpenter’s old but neglected friend – and amid hints of political differences regarding the still living memory of history and politics concerning the Russian Revolution between those of whom this friend now tells the carpenter in an intriguing Fable of Retrocausality, concerning turning back fates as well as clocks vis-a-vis the friend’s love / marital life. The story within the overall story (the latter artfully ‘carved’ by R.B. Russell to contain it), in this way, is like putting fictional things inside something non-fictional (i.e. inside an object like a real chair or a real heavy-duty book (like this one published by Ex Occidente Press), I muse, without this story directly causing me thus to muse) to make it all seem or actually become non-fictional. Truth and reality running in parallel and nobody knows which is the one in disguise? (24 Jul 11 – another 2 hours later)

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Café Morphine – by  Eric Stener Carlson

“Snow? It was July, for God’s sakes. How could there be snow?”

A lengthy, absurdist, often very humorous fable or parable concerning an Argentine unionist in 1921 travelling by train through Europe to a Union conference – sometimes mistaken by post-Revolution officials as a Jew or an Assyrian! – and he now makes a Poliakoff-type of inter-journey stop-over in a dislocatedly posh café – having already experienced confused absences and presences in the train carriage itself amid conversations about Kant and Heidegger – still clasping his precious box that the story opens for us at least twice – meets a self-confessed, untraditional ‘vampire’ – a vampire that feeds off or supplies Time itself (fresh from its reported propensity to retrocausality in R.B. Russell) – and I’m getting breathless and time-drained trying to cover (in one sentence) every point of this story which I evidently can’t because I’d need to tell it all over again while I re-read it – and why Café Morphine, I hear you ask – well, as I dream of “racing across the endless Iberian fields”, I dream, too, that Time (like Brian Ferry’s ‘love’ and Brahms’ Chaconne) is the drug for the veins (perhaps disguised as coffee to keep you awake) – and it gave birth to this whole book’s title that in turn gave the café  its name in this story so as to give it back to the book’s title, a name flying back and forth between like a butterfly. Second sentence: I loved this story for (but not only for) its timely message on how to spend one’s time-of-life with some ability to milk it to its last dreg. (24 Jul 11 – another 3 hours later)

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The Philosophy of the Damned – by Reggie Oliver

“The raising of the curtain on the first act was to him like the coming of dawn to a traveller by night, an event of unblemished hope.”

…indeed, the opening of any theatrical event that one has long anticipated in child-like trepidation and pleasure – and a new substantial story by Reggie Oliver is no exception. Petropol in the 1919 Crimea … and the theatre manager – himself with some trepidation – hires a new troupe. One that provides a zoo-like climax that is attuned to earlier caged simians in this book – and other anthropomorphic tricks: anthropomorphism that works both ways! This is another Reggie Oliver theatrical weird fiction classic of Hadean elegance – so fitting for this Hadean book.  And its ending is so provincial in quite a perfectly unexpected, but comforting and home-is-where-the-heart-is, manner, after all the dream-envisaged D.P. Wattian cabarets-bouffes that preceded it within this book and this story itself – and the Red Army that hearsay tells us followed it given no prior escape that fiction is supposed to provide in the guise of escapism. (24 Jul 11 – another 3 hours later)

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Red Green Black White – by John Howard

“…now coloured by the minute flecks of powdered paint and desiccated paper, drifting down in the still air from the ikons and portraits as they dry out; wood warping and splitting, paper curling and disintegrating, and leaving such spaces that she cannot remember what it was that filled them.”

…like vampiric time being drained to its last dregs again? This breathtaking patchwork or kaleidoscope of a fiction tells of more spaces to be filled, as a shape-shifting ‘agent provocateur’ “assumes” and “bodies-out” as different characters or many characters as history meets history in their own war to become the real-History –(like reading this whole book up to this point, in a synaesthetically exponential slow-strobing of the soul of Bulgakov that also crosses borders like fluid countries with no edges or with ever new edges (like morphine or music in the veins?))– in the real-Historical Balticana of 1918ish Ukrainia-German-Austro-Hungary, Poland &c &c, its various historical characters, treaties, events… “Your problem is that you do not – and cannot – see the larger picture that I can. You will never see it, and know your part in all these laughable dramas. You are not only drowning in history, you are already past, and becoming forgotten.” (25 Jul 11)

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The Immortal Death of Ivanov Ivan Ivanovich – by Mark Beech

“…hacking ungraciously at those great chunks of stone, straining all the while for the spark of a colour-filled memory or the swell of a kind of music…”

A compelling, extremely well-told story (told on a train to others) with a linear plot of non-linearity as the impermanence of the identity of the Russian God beyond an iconostatsis of a seeming immortality – immortality subsumed by the harsh ephemerality of politics upon the people – sculptures-of-likeness, thus, that are as tenuous as the man who sculpted them or as the man whom he sculpted with such well-intentioned permanence even if originally a skill granted for the nonce by an inscrutable stranger (one’s own ‘disintentionalised’ author if one is a character in a book) – and I nearly cried at some of the implications; and how all this sort of sums up this book itself: each story a sculpture of words on stiff pages within even stiffer covers and a seemingly untearable textured dust-jacket (a theory of untearability never to be tested)… “apulse with all the industrial noise and primary colours of a constructivist future.” — “…a wide balcony. / Quiet at last! a clear crisp Moscow night opened around him. The red stars flickered over the Kremlin walls. In the park beneath him, he thought he could make out one of his Stalins.” (25 Jul 11 – two hours later)

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I Listened to Laika Crying in the Sky – by Albert Power

“Darkness. And the barking – hack – hack – hack … of terror and confusion.”

If this were the last story in the book, I’d deem this the perfect coda (but that is the privilege of this book’s last story that is the only one I’ve read before)  or perhaps this Laika one is the rising fall (as opposed to the more common ‘dying fall’) of Nina Allan’s new chaconne, as the book enters Khrushchev’s era and – when three men and an eight year old girl are on an expedition upon the very cusp of winter’s ice for snipe and teal bagging – with, nearby, sputnik’s launchpad. The dog in space – the true rising fall – an anthropomorphic stretching-out towards that shifting Russian God beyond the iconostasis of new-found space or of Rhys Hughes’ ‘nothing’ – away from that erstwhile ‘Hollow Earth’. The later deserted girl’s vision in the snow of who I assume to be Bulgakov himself is remarkable. And the alignment of some antiquated words scattered throughout contrasts with the breaking-news of modernity represented by the launch of sputnik. A poetic experience the strength of which is that it cannot be nailed down through any part of our now (at this point in the book) well-exercised, well-toned reading-limbs, if I can coin a phrase for the spiritual antenna required when reading potentially great literature of the future’s past. (25 Jul 11 – another 90 minutes later)

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I only read and reviewed the final story below a week or so ago in the author’s book ‘The Exorcist’s Travelogue’ – and beneath I show my very slightly corrected real-time review from that time which, happily, is, as it turns out, the coda for both books:

The Farewell Letter  – by George Berguño

“Suddenly, I spied Joseph Stalin on the opposite balcony – and our eyes met.”

…with another ‘ancient longing’? Mikhail Bulgakov – being written about by his wife to his brother. — “…several years trickled by” and there is much to ponder here: things to dwell upon that should never really resolve this book’s coda. Accessible or esoteric history of our recent times, reincarnation (permanence?) by lycanthropy or anthropomorphism, the misanthropic transience of old fogies like me and Molière’s Alceste. The mating-dance of literature with literature. The eventual madreperl of regret. It’s like listening to an unknown piece by Mahler as the last piece in the last concert.  (15 Jul 11)

That moment on the balcony is so utterly moving, even more so now, in view of the Mark Beech story. (25 Jul 11 – another 30 minutes later).

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The two stories that – I’m told – should also be in this book (together with, I suspect, Karim Ghahwagi’s ‘Amerika‘, with my review of it linked above somewhere) are A Certain Power by Mark Valentine and The Horned Tongue by Stephen J. Clark (the links being to my reviews of those stories).  Are there any more that were meant to be in this book? Not  a rhetorical question. If any later come to light, I shall mention them in the comments below this review.  Till, then, I keep my powder dry.  Other than to say – as I hope has come across above – this is one helluva book!!

 Does the gestalt of what is in the book differ from that with all that should have been in it? But perhaps that’s the very point of the book – as well as the crux or noumenon that I’ve been seeking, these few years, by carrying out my real-time reviews. One Platonic Form of Real-Time Review that they will all eventually coalesce into because they were meant to be in the one book – the ultimate heavyweight tome that sits in my head with the feeling of a still-unhewn stone sculpture? I now risk entering pretentious realms even I dare not enter. Suffice to say, I really loved the Justin Isis story above. I make that point in case there was any misunderstanding about my Molièrean misanthropy as an “assumed” or “bodied-out” curmudgeon or old fogey.  

What more can I say? That cat with poppy-eyes on the dust-jacket above stares mockingly as I write this, telling me that all reviews must end somewhere. So be it. I’ll end it in the Café Morphine. Join me there for the nonce, whatever you think of me.  I’ll be the one in the chair with the thickest back.

END (25 Jul 11 – another 45 minutes later)

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The Mauve Embellishments – by Charles Schneider

I’m due to start below another of my gradual real-time reviews, turning leitmotifs into a gestalt.

And it is of ‘The Mauve Embellishments’ by Charles Schneider (Passport Levant MMXI).  A book I purchased from the publisher.

There is no guarantee how long it will take to complete this review, whether days or years. Indeed, this is said with the knowledge that a busy Season is afoot and many people have calls upon my time. So I do not wish any of you interested in this review to keep returning to this page and finding nothing added. However, I do not know how to resolve this problem ….

CAVEAT: Spoilers are not intended but there may be inadvertent ones. You may wish (i) to take that risk and read my review before or during your own reading of the book, or (ii) to wait until you have finished reading it. In either case, I hope it gives a useful or interesting perspective.

All my real-time reviews are linked from here: http://dflewisreviews.wordpress.com/

All my Ex Occidente Press (Passport Levant) real-time reviews here: https://nullimmortalis.wordpress.com/2010/09/24/ex-occidente-press-real-time-reviews/

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This is an exquisite landscape-configured artifact of the highest treebook standards of yore – complete with a beautiful dream-haunting illustration in colour for each of the many items or stories, as my quick breeze through its leaves has so far attested.

Bascade Bay – A Grotesque Confessional  Tale involving The Muslin Nonedscript by “Q”

“… paper machè clown-head.”

 I have been warned on the grapevine to sip these stories with the slow-savoured meticulousness that they deserve. And, indeed, whether by dint of my earlier waiting-room reading circumstances or through an intention within me that ignores such circumstances, I have only read the first story so far and then lived to  dwell on its discreteness – and it is one that prevails gem-like in the mind (helped by its illustration) regarding  a theatrical revenge and human-outsized puppetry that led me later to the sea near my home in hope of rescuing the plot’s worthy victim just to spite the happy-ending narrator! (22 Jun 11)

Osmiae Occularum: Field Notes

This story as brief journal notes makes me think that each artwork and item of text are mutually organic: and this particular symbiosis proves the meticulous care required to scry insect-scrobble for monstrousness as well as beauty: i.e. to establish the sip of reading … causing  the sentence – “It took me half a century to understand what he meant.” – to become retrocausal. (23 Jun 11)

In Situ

“The Bookbinder-Taxidermist sets about preserving your  face. Your head.”

I am sort of speechless at this incredible prose poem. It’s so personal to me, synchronous, serendipitous….  Vis-a-vis the multi-authored book I’m about to publish next month (the HA of HA) and its already decided-upon cover image of a human head of print emerging from a book!! And vis-a-vis ‘The Last Balcony’: “the finishing of your ultimate artistic statement”. I simply can’t write a neutral review of ‘In Situ’ and its bespoke artwork. (23 Jun 11 – four hours later)

Hybrid Revel

“Heard whispers of the growling Garbrilathes.”

A line from this poem that will at least give Google its first Garbrilathe meat of meaning to chew on.  A Poem and its Picture – a hybrid Uccello. (23 Jun 11 – another 2 hours later)

The Map

“You sure he said it was here? All I see is a buncha spooky paintings,”

Another piece that much touches me personally, spookily as if intended to do so.  In my novel – just published – there is a special ‘hawling’ within a mine: I see this as hawling that mine in the same sense. And mines are called that for good reason, i.e. a mine that is ‘mine’.  Conrad’s chance physiognomy of the human mind as both a map and (actual) painting  – a mind that is also mine: all up front as well as deeply to be mined. (24 Jun 11)

Grey Man’s Journal

“He had the most beautiful shadow I have ever seen, walking gracefully beside him.”

Not the grey man’s shadow but what the grey man wrote he saw and yearned to inveigle or exchange… [You know, seriously, I cannot really do justice to this  book’s  prose symbiosis with each of its pictorial shadows and/or each picture with each of its textual shadows. You must see for yourself.] (24 Jun 11 – three hours later)

Croppingham Fair (an old ballad)

“…the wreaths, the weeds…”

This short poem (if new, should be old) – one that I feel like learning by heart for recitation purposes – has, for me at least, a supernatural dalliance with ‘going to St Ives’. (25 Jun 11)

The Brood Pouches of Theron de Casse

“Words resembling winged segmented things…”

A difficult claim to make, but this is the best symbiosis so far. With due modesty, it reminds me of my own attempts during the 1990s (around 1,500 of them printed in that decade in obscure and less obscure publications) to create ‘magic fiction’ as opposed to ‘magic realism’.  But none as successful as this.  The parthenogenetic-sea-horse ending is so incredible, you must read it. Pity there are only sixty copies of this book, I believe. Mine is hand-numbered 20. (25 Jun 11 – another 2 hours later)

The Temple in Ruins

“There are stones within stones…”

Yes, only sixty copies and plenty of white space to protect the multifarious artwork items. A chunky aesthetic book to cherish and, depending on your purse, to treasure. This is a very short prose piece, with its own white space built in.  It is again an attempt at magic-fixing (fictioning) the soul as body, and the body as soul, its own symbiosis with itself and – at the end – a startling John-Donnean metaphysicality of a ‘conceit’. It would spoil it to tell you what it is. But it does jump out at you rather than creep up.  (25 Jun 11 – another 45 minutes later)

The Starving Spectre

“…watching the pallid wisp descend deep into the throat of these brittle woods.”

An effective ghost-story vignette using this book’s hallmark dense textured prose, but a prose loose-limbed enough for relative ease of accessibility.  Again reminded of the ‘going to St Ives’ conundrum… (26 Jun 11)

Shadow Barge of the Khalifehs: A 19th century translation of An Eastern Fragment by Anonymous

“…a mad poet’s hell.”

Three fragments, in fact, where a named reviewer is absorbed by the anonymity and parthenogenicity of a sea-horse prow tussling with Ghouls and an “amethyst-caked leviathon“.  I am the first to admit one would probably need to drown in the words of this story before fully understanding it, but having drowned, one wonders if that would serve me any purpose. Not knowing is sometimes half the battle won at least. And I just stare gurgling at the story’s blotchy painting. [By the way, the previous story (‘The Starving Spectre’) wields a painting that alone makes the book worth owning.] (26 Jun 11 – three hours later)

Draugr

I am quoting the first short sentence of this prose poem, but hiding it at one remove here in case it is a spoiler.  I quote it as it seems central to my review so far. And if a parthenogenetic birth is possible on a bigger scale of creature, then I imagine the process would involve at least some form of “Caesarean pact”.  [The painting here is both vulpine and Lovecraftian, to my eye.] (26 Jun 11 – another 2 hours later)

The Stereograph

“Yes. He had heard a fragment of a rumour many years ago at a slide collectors convention in Blackpool.”

Blackpool, or Menton? Seriously, I’m sure I’ve now reached a genuine Weird fiction classic, as if I’ve been led craftily towards this story by the previous ones so the shock is processed to the fullest.  The obsession of collecting, to the point of not even sharing the primest item in the collection with oneself!  Collecting and death in symbiosis.  The secret of parthenogenesis reached but only for those of us who can ‘gestalt’ the twin paintings or illustrative leitmotifs affixed-within-white-space to this text.  A rorschach of extreme identical opposites.  Clark Ashton Smith eat your heart out. (27 Jun 11)

The March of the Greater Abominations

“A vast natural bridge was found, graven by the God of Frail Winds.”

Well, I didn’t think it could get any better. I assumed I could now travel downhill with my memories being safely packaged by the remaining stories. But no, I need to cross that bridge (via the provided painting) into the most dense and effective weird description of even weirder fabrictions brought to life beyond their own description: a meal you can only experience once: a meal with if not of Centipaux: sustenance for future travel within this book? (27 Jun 11 – two hours later)

Poe’s Inkwell

by Jeremy Lassen, 1987

I’m not sure what to think of this tale of a “kleptomaniac” or “petty criminal” who used Poe’s Inkwell from the Poe museum to try enhance his own weird writing. Perhaps the tale itself is petty, too?  The ink itself turns watery, in an attempt at distillation. I imagine Poe’s ink was mauve? I wonder if retrocausality will eventually give me a clue as to the contribution to this book’s gestalt of this story. The story’s painting (or atmospherically blurred photo) depicts a striking trilby (?) hatted face staring out at me with startling or startled eyes from between facial shadows – making me feel decidedly uncomfortable now that night is coming on. (27 Jun 11- another 5 hours later)

Night Visitation

A short rhyming poem about a sanity-threatening item of femality – one that I can imagine Poe writing in an off moment.  The painting pointedly depicts the creature’s pouting or tongue-poking head and “elastic tail“. (27 Jun 11 – another 15 minutes later)

Slith Gibbelin

Unwritable here, unreadable there / Unthinkable anywhere

An excellent extended Nursery Rhyme. If I’d been exposed to this (with its picture) as a child – whispered into my ear by my own dear mother – I wouldn’t be here today to read it, I’m sure. [The title is as I have it above, while in the textual refrain it ‘s “Slith Gibbilin”.] (28 Jun 11)

The Tuurngait: An Invocation

“…destructive and monstrous forces, hoping to leech upon a living form…”

Like picture with text, wolf and demon grapple with each other as well as with feral, fetid existence.  I intuit this is a sort of inverse parthenogenesis… Wow! (28 Jun 11 – three hours later).

Aside: like any special ink and the writer who uses it? (2 minutes later)

La Society Lumineuse du Masque Noir

“His hours consisted of mail-ordering, and then receiving, very expensive books detailing esoteric subjects…”

I shall need to sip this story again but, intially, I get the feeling that if I formed a group with the other 59 owners of this book – ‘The Mauve Embellishments’ by Charles Schneider – together with Mr Schneider himself and young Dan Ghetu and, perhaps, inscrutable collaborator, Jeremy Lassen – we’d be a uniquely artistic driving-force with which to reckon, i.e. in the sense of easing Caesarean birth to things that must exist but cannot. [You can see some of us depicted – in bandit (or, more tellingly, ‘lone ranger’) masks – by this story’s picture.]

“I hate being compared to people similar to myself.” (28 Jun 11 – another 2 hours later)

Night Shackles

“A span of wounded moons cruelly unfurled,”

… is one line from this short poem that I feel should be sung like Parry’s rendition of Blake’s Jerusalem – and, suddenly, completely unpremeditated, the crowd in the Elias Canetti painting lurched forward, in unison, and sang of Bosch and Grosz instead. (28 Jun 11 – another hour later)

The Street of the Waking Dream

“It has been said that if we do not dream, we will die.”

An exquisite piece that deals with dreams in evocatively redolent prose – reminding me (immodestly?) of some of the themes of my recently published novel (the only novel of mine to have been published so you can’t mistake it). The only difference is there we vary upon a theme of ‘dream sickness’ – here, in Schneider, the oppposite. But ending, in my 1/60th share of the reader’s mind, with a symbiosis – enhanced by the painting’s Escher, Wyndham Lewis, vorticism of Lovecraftian bending of dreams … or did I mean blending?  (28 Jun 11 – another hour later)

The Tricycle Rider

“His desire to protect the Things of Long Ago…”

A charming, truly haunting vignette of the world of childhood toys in retrocausal nostalgia – in face of our modernity today staring (like the image attached to ‘Poe’s Inkwell’ ) at the inside of the secret room where the toys are housed, as guarded by the Otto Dix-esque tricycle performer with his nurturing of the parthenogenetic past.  Claustrophobia is even welcome in such circumstances.  The art of this work to convey. (29 Jun 11)

The Mauve Embellishments – as lasst sich nicht lessen

“The Dreaded Bookmen have come! They have brought boxes with them, which they anticipate filling with your books.”

Which is very telling with treebooks vanishing into eeeeeebooks…  This is a substantial masterpiece of arcane book-collecting and – the ultimate parthenogenesis of this very book: i.e. itself. It seems the inevitable culmination. I sense the mauve ink flowing like blood round my body. A meticulous examination of dusty aesoterica as well as of love!  I too have a first edition of ‘The King in Yellow’. This new colour – in the context – gives me the willies.  And I now begin to dwell further on the various symbioses of text and picture through which I’ve travelled above.  Sin-ergies.  Gas salt. Litemauveteeth. Book as Ha of Ha. Self as enemy, and friend. Parfait.

PS: Some images of the book here:http://www.ligotti.net/showpost.php?p=65875&postcount=926  i.e. 2nd, 3rd, 4th, 5th, 6th, 7th, 8th and 9th images (running horizontally). END: (29 Jun 11 – two hours later)

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