Tag Archives: Stephen J. Clark

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’!


Filed under Uncategorized

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).


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.


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


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)


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)


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)


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)


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)


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)


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)


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)


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)


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)


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)


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)


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)


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)


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)


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)


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)


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)


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)


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)


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).


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)


Filed under Uncategorized

The Bestiary of Communion – by Stephen J Clark

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

And it is of ‘The Bestiary of Communion’ by Stephen J. Clark (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/

Landscape format, sewn hardcover with dust-jacket printed on heavy cardboard paper, cloth boards, gold folio, silk ribbon, end papers and full-color frontispiece (plus three further internal full-colour illustrations). There are 144 pages in total. The edition is limited to sixty copies of which this one is hand-numbered 20.

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.




“…that particular night it took the shape of his pillow. No matter how he pummelled or kneaded its flesh it would not comply, it would not let him rest.”

You know, I feel an added frisson of claustrophobia and atmosphere reading such fiction in a  heavy-duty book (such as this) that I know will be owned by only 59 other people in the world. A secret written, a secret read. A secret told, a secret heard. A secret sparely shared. Here, (in 1960, in a city that has a Spui Square), a husband  – in a sort of retrocausal unrequited-love syndrome – seeks his missing wife in the way a famous detective may have done but, instead, heads (with his wife’s discovered diary in his hand) straight – via a sinister (spirtualist?) establishment and a meeting with a protagonist wielding more power over the story than perhaps Stephen J Clark himself wields – towards, I simply guess, a variety (as yet undetermined) of metafictional nightmare. (11 Jul 11)


“…a samizdat version, a rough manuscript by an author called Mikhail Bulgakov,…”

Amid “junkyard effigies” or dummies or scarecrows (as markers), with shuddering Ligottian reminiscence, our wifeless protagonist is involved in some really insidious dealings and cross-commissions, and a book [that I’m sure Ex Occidente Press / Passport Levant itself could have published retrocausally for these truly haunting scenes (judging by that publisher’s erstwhile “Peacock Escritoire” &c. &c.)] leading to one of the most poignant moments I’ve encountered in weird literature featuring the statue of an urchin boy (in the hindsight of what had been said of it earlier). (11 Jul 11 – two and half hours later)


“Be warned, he said, for when you speak the language of dreams others will distrust and shun you.”

This novella, I vouch, is a major work in weird literature.  It certainly does disturb and haunt in a very real way.  And if you felt the last section’s ending was poignant, the actual ending of the whole novella is even more so!  Almost unbearable.  But fulfilling for an oldening bookish man like me, in many ways — [Coupled with the intertextual horror of a book’s actual smothering grip of reality beyond its ‘book-ness’ that reminds me of many of the metafictional and non-metafictional stories in ‘The Horror Anthology of Horror Anthologies’ and, also, there is the stated context of a “small balcony“…]

“The words seemed to dance from the page into his mouth. He and the words became one.” (11 Jul 11 – another 90 minutes later)


I. “Its toy turrets, windows, balconies and roofs all contorted into perplexing angles,…”

A ‘pursued’ journey across the snow with wounded man – with deft hints of those in the party – towards a House [of Leaves??] wherein there is its own version of white-clad ‘snow’. An intriguing opening, absorbing a small band of readers, as if taking us into the house, too. (12 Jul 11) 

II. “…her face concealed by a mask and headdress that was a hybrid of peacock and owl…”

Exploring the isolated foundling house, amid grief about one of our number (and fresh-opened wine), and an oblique reference to a ‘Mr Schulz’ in our past, some of our group view paintings, one of which seems to be a vaguely retrocausal ‘mirror’ (my expression not the book’s, maybe not even the book’s concept at all). This writer certainly knows how to enthrall… (12 Jul 11 – seven hours later)

III & IV. “The artefacts seemed eager and restless they stirred in the shadows enticing her into making fresh correspondences, new memories from old,…”

Indeed, from two protagonal viewpoints, the foundling house either reflects our story already told or imposing a new story on us yet untold that we assume is an old story. There is some very fine prose of the weird literature school here, while the paintings themselves, their subject-matters etc, make their own correspondences. The house sits in my brain, almost. (12 Jul 11 – another 45 minutes later) 

V & VI. “This museum holds shadows of things that will be as well as shadows of things that once were.”

Intoxication by the house’s feral exterior interiorising – and by dint of vintage wine – and by urge of sensuality between man and woman – and by dint of pure literary intoxication – as I try to fathom the various forces of politics, land borders, wall trophies – and a didacticism or tradition of literature quite beyond me but now become part of me as something undidactic or untraditional, beyond me as well as within me.  Why has the word intoxication, I suddenly wonder, got ‘toxic’ built in?  Why slipper ‘slip’?  ‘Bruno’s Dream’. (12 Jul 11 – another 2 hours later)

VII & VIII. “There was another flash of light or skin through a break in the undergrowth,…”

This is rare or rarefied material that makes me think that real-time is not enough. I surely need to read this text again and again before committing ‘pen to paper’. Yet, I know I am riding this just once in a moment-of-now as if this is an inverse Proustian search for lost time, where lost time finds me rather than the other way about.   Doing a dervish dance through the corridors of Louvre paintings, with the frames and canvases coming off the walls into my my forcefield. Not sprinting, but spinning.  Except they’re the paintings I saw in St Petersburg last year, not those I saw in Paris in 1967.  The House of stiff Leaves thankfully embedded within hard board covers as a landscape of lost time rather than a portrait of now.  (12 Jul 11 – another hour later)

[Intermission: I have just learnt HERE that ‘The Horned Tongue’ is to be made available on-line. This is probably a good idea to obtain more readership for the author, but in many ways, for me, it’s the best of both worlds: because when I read it above (yesterday) I could genuinely say what I did say at that moment of now lost time and experience it then to the full accordingly! – (Meanwhile, I shall continue reading ‘The Lost Reaches’ another day.)] (12 Jul 11 – another 30 minutes later)

IX. “…the audience were the true source of the illusion.”

Forced to return tonight by the need to fulfil some renewed urge to read before going to bed – it is as if the foundling House has leaves of Vegetation towards a snowy Narnia – but here a filmic, painterly, weird, East European, self-contained, undidactic ambiance of fantasy not a Christian Allegory – a fantasy that reminds me of the day as a youth I always visited the cinema and they customarily had ‘continuous performances’, where the section of the film you watch after being shown to your seat by the usherette’s beaming torch is what you end watching just before you leave, say, from film’s midddle to middle, and you have had to work backwards to visualise the film in the correct order, by changing things, skipping motives, forgetting sadnesses, ditching happinesses, defragging politics and logic and history and desecration and holocaust … in some strange ritual of half-shafting screen-lit darkness, red embers and billowing cigarette smoke – and blindly snogging couples. (My erstwhile vision, not the book’s, but uncannily it is this book’s vision …later, perhaps. But tomorrow never has today’s vision.)  (12 Jul 11 – another 3 hours later)

X. “…it was crucial that they remained focussed on their knowledge of the borderland…”

This morning, back in the House proper, I seem to have woken from a remarkable dream (a dream mixed up with last night’s reading of this book – but was it the right book? Or is today’s the wrong one?) [Last night I had read but forgotten, it seems, by checking back today to the previous chapter: “…the audience had fallen asleep while watching the scene...”] Things today are no clearer to me, no less nightmarish (so, am I still dreaming that I have slept and awoken?), no less apolitical or undidactic, although I suspect the protagonists who have abandoned me in the House on this Borderland (couriers, debutantes, a bureaucrat etc) are highly political and didactic in their own terms of history, within their age, their reality. Many glass cases with curios in the darkness – some of which I burn to create a pattern or patterns with their residual power.  That I may not be there at all, but, instead, there is some  other ‘artist’ or ‘writer’ with a better (or at least better known) ‘reach’ than mine – or than yours (when or if you reach ‘The Lost Reaches’). (13 Jul 11)

XI & XII. “He dismissed the idea that he had been swallowed and slowly digested by the house.”

I submit myself further to this ‘insanely challenging’ reaching out toward the lost reaches of this quite amazing novella. ‘Self’ in jeopardy simply from reading another writer’s book?  Surely not. Guns, dogs, visions of giant birds, sprouting chandeliers, smashed balustrades, the destruction of fine art paintings, historical politics nobody has taught me, all to make me flounder further in this nightmare. [I do not intend ‘insanely challenging’ to be negative. Indeed, the very publisher of my recent first novel stated that novel to be ‘insanely challenging’ in a public blurb about it!] (13 Jul 11 – three hours later)

XIII & XIV. “Let us celebrate this last night. Tomorrow all this will be gone.”

All is as I wondered (even hoped) earlier, except please delete the word ‘almost’ from what I said yesterday and you will know to what I am referring if you re-read this review!  This novella I knew was rarefied stuff – and giant beetles may be only half of the story (as yet unmentioned!) – but it is so utterly rarefied and distilled from archetypes of nightmares nobody would wish to unearth, I feel unqualified (even fearful) to enhance or spoil it further. I shall read and review the third novella of this book in a few days’ time, assuming it will represent more such heady stuff that needs sipping rather than gorging upon.  “…black ink bubbling from their mouths.” —  “I remember all that is to come.” — “…stamped out under the heels of another history.” (13 Jul 11 – another 90 minutes later)


I. “What will happen to me once I’ve said  all I have to say? And what will become of you?”

I sense I shall become part of a reflected bar scene from (or still within) an Auguste Renoir painting. Or I shall ever be exploring textured pages from Romania for clues as to why or how I “had forgotten how to live”?  This tale reminds me – a smidgeon – of the story “The Chymical Wedding of Des Esseintes” by Brendan Connell, where the protagonist is also led away from a bar or cafe by a stranger (as I recall) through a mazy city towards – perhaps to more than one place: an archetype of fetching through war machinations (as here) or through absurdity: a wild goose chase or the ultimate quest of how to start living again or simply to die in peace without the need to keep returning (as I have to this book today)?  I am feeling my way. Indeed, as in the previous novella, feeling my way (with a definite frisson) towards a House… (A House and a Countess?) [And Nemec – a form of Nemo?] (15 Jul 11)

II. “Who will paint my portrait? Am I to be forgotten?”

This is 1939 in Prague, I’m told. But it seems like today, the House again imprisoned inside my head – and, despite a different or subterfugic voice, there seems no escaping it by erstwhile delay, perhaps not even by permanent delay (a definition of eternity?). And the book’s overall title ‘The Bestiary of Communion’ crystallises…. (15 Jul 11 – two hours later)

III. “‘Something must be lost. That is the way with pacts. Something must be given. Something must be sacrificed,’…”

Like Ex Occidente Press itself?  Beautiful books and their reading legacy but also their potential mis-synergy with life entailed in their logistics of production, delivery and receipt – and their reflected authorship-by-abstemious-numbers?  Returning to the story itself – I recall the aforementioned Connell story was a fetching toward a marriage – and here there are echoes of that with the Countess who appears as a painting or, rather, a potential drawing of her by the protagonist. Indeed, there are four pieces of striking artwork in this book by the author. Meanwhile, with some fictionalised relief, I think at least the reader has escaped the House (or vice versa) if not, upon eventual re-reading, the protagonist himself by remaining imprisoned by crystallisation of the prose (always there to be re-read and lived through again, on these heavy-duty pages, within this stolid, stoical, eternal book). (15 Jul 11 – another 45 minutes later)

IV & V. “Only the devout are allowed into the castle on the hill to pay tribute to a man on a high balcony.”

Perhaps the best of all possible both worlds, being allowed to regularly visit the House and the Countess, without feeling imprisoned. Tempered (good-tempered as well as bad-tempered) by a ‘worsening’ of the nightmares … and by what I understand of the real history of the place-and-time being revisited upon us (so that we can exorcise it by communion with it?). [Compare the other book I’m simultaneously reviewing by inadvertence of randomness: “There is something disconcerting about standing alone in a space that was built for a crowd.” – from ‘The Exorcist’s Travelogue’ by George Berguño.] (15 Jul 11 – another hour later)

VI & VII. “The prisoner seems to have no recollection of the previous night.”

During an extended, powerful rite-of-passage – from continuous-performance cinema (a Full House), and almost literally with his (my) Eyes Wide Shut, and led by a Magus (as from John ‘Nemo’ Fowles: Otakar or even the publisher of these books himself?) – we enter a recurring deja-vu of the Bestiary of Communion and the destruction, then creation of Art – here (again? or deja-vu?) creating a portrait in this landscape book of the female in an (idealised?) frame or the female in ourselves-as-men: and I would be grateful for a female reader of this book to give their own take on this.  But, perhaps no need, as we all are upon a spectrum of gender. Just as there is a spectrum of cruelty in any war or unkind act. The same spectrum of cruelty, too, in any period of peace or in any kind act. (15 Jul 11 – another 90 minutes later)

VIII & IX. “Mr Nemec, soon we will disappear together, further and further into this house.”

Having now read this book’s final recurring sections [and please, one day, cf: my recent novel’s separate sections Nemonymous Navigation  and Nemonymous Night] I merely need to say, “I rest my case”.  From the Book-as-Horror-or-House in the Bestiary’s first novella, we now have the House of Houses, the Horror of Horrors, i.e. the horror owned or published recurringly by the intrinsic archetype nightmare: the noumenon of nightmare that this book attempts to nail (yes, attempts and it remains to be seen whether it may have succeeded).  To know the worst, however, is also to know the best. An important book to read before you die. (15 Jul 11 – another hour later)



Filed under Uncategorized

The whole of my lifetime work with Elizabeth Bowen Quotes is now in a book

The Megazanthus Press Book: Real-Time Reviews Vol 3 is now out and in my hands. It looks wonderful. And there is a real treat within. Please see the end of the contents list below.

As is common with this series, it is a direct imprint from the internet and contains no contents lists. The list is therefore below.

This contains RTRs for:

LOST PLACES by Simon Kurt Unsworth….3

THE WOUNDS OF EXILE by Reggie Oliver ….22


XARGOS by Frances Oliver….40

OBLIVION’S POPPY by Colin Insole….42

OCCULTATION by Laird Barron…57

THE SATYR by Stephen J Clark….70

THE AUTUMN MYTH by Joel Lane…..79

THE COANDA EFFECT by Rhys Hughes….83

MAD MATINEE IN BAKU by Albert Power….98

NORTHWEST PASSAGES by Barbara Roden….107

THE SONS OF ISHMAEL by George Berguno….121

THE GHOSTS OF SUMMER by Frances Oliver….132

THE DEFEAT OF GRIEF by John Howard….148

My very popular, many years’ worth on-line work at quoting from Elizabeth Bowen’s fiction. You will not quite believe the power of these extracts from every novel chapter and every story…… Pages 158 – 415 inclusive


This is the book and further details by clicking on it:


1 Comment

Filed under Uncategorized

The Satyr – by Stephen J. Clark

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

And it is of the novella entitled ‘The Satyr’ by Stephen J. Clark (Ex Occidente Press 2010).

There is no guarantee how long it will take to complete this review, whether days or years.

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: https://nullimmortalis.wordpress.com/2010/09/07/df-lewis-real-time-reviews/

All my Ex Occidente Press real-time reviews here: https://nullimmortalis.wordpress.com/2010/09/24/ex-occidente-press-real-time-reviews/ (30 Nov 10)



From the Publisher’s website: “The Satyr is a sewn hardcover book of 108 pages with dust-jacket, silk ribbon, endpapers and a full-colour frontispiece. Edition limited to only 100 hand numbered copies. $55 inc. p&p to Europe and USA, $55 to the rest of the world. This is a collector’s edition. The book can be acquired only via Direct Order.”


“…some city that I’d yet to imagine: a capital for ghosts and dreamers, improvised in miniature.”

I offer myself as a trusting reader to the book as it unfolds, and I am immediately entranced, as the situation coheres like sketching a picture myself of it.  A London under Blitz with the atmosphere of Elizabeth Bowen’s masterpiece: “Mysterious Kôr” and with, dare I say, at least some elements of Machen’s “Fragment of Life”.  Marlene – with help from her pictures and sketches and sigil-signature and spoken contexts, pictures that the reader can actually see for real in this book – is built up as a waif and stray and busker artist, I don’t know, but who takes up or is taken up by an ex prisoner (Mr Hughes who happens also to be the narrator of the book so far) as she searches for reunion with her artist inspiration, a man (Austin Osman Spare) whom she calls The Satyr, as she talks through her dreams of the Danube… and much more in addition that helps me cohere my own picture of her, and adumbrates my own dubious relationship with the narrator who makes me feel uneasy. Perhaps I make him feel uneasy, too?  (30 Nov 10 – two hours later)


“She explained that the Danube was pushing at the seams of the fabric of London…”

[CF:ish – Agra Aska]

…in parallel with London having “its throat ripped out” by the Blitz. Indeed the penultimate sentence of this chapter is the perfect crystallisation of “Mysterious Kôr“…. whether it was authorially intentional or not, I’m pleased to have been party to its narrative ‘discovery’ in this review.

…as Marlene and Mr Hughes negotiate these brilliantly described scarred streets (embued too by Dickens and Ackroyd) in search of the Satyr … via sigils and Spare-scored street-clues – and via a sixpenny séance. Marlene is after the Satyr but someone, she’s told, is after her, apparently.  The reader, no doubt, or at least this reader?

This book is simply taking off for me.  And I’m in keen pursuit whither it may take me. (30 Nov 10 – another 2 hours later)


I simply think, at the current precise moment, that – for me – this is the most important chapter in any book I’ve read in recent years. I feel as if I’ve read it before, although I know I haven’t. It’s rich with quotable quotes I could quote. It seems to crystallise everything I’ve thought about ‘The Synchronised Shards of Random Truth and Fiction’ since that appeared as a subtitle of the ‘Weirdmonger’ book in 2003.  Suffice to say, Marlene Dietrich (as she calls herself, it seems) is now effectively described by a new narrator and – internally within this new-angled narration – Marlene is shown narrating about herself … together with more of her own striking artwork for readers actually to see for real. Meanwhile, I fear Mr Hughes (the original narrator) is coming too close for comfort… as if tantamount to making me compete with the head-lease or freehold author himself!  (30 Nov 10 – another 4 hours later)


“I was holding her hand across the table when the swelling moan of the siren interrupted.”

If the previous chapter confirmed my initial trust in opening myself to this book’s “revelatory images” being “coaxed into being“, in tune with Marlene’s coaxing, I am now returned to the original Mr Hughes narration, at least for a few moments, as if his hand is a glove for mine.  Air raids brought hands together in 1941, I’d say. [My mother still tells me of the time she slept on an underground station as a bomb shelter.] (30 Nov 10 – another hour later)


“…cowled shadows crawled up his limbs to whisper old forgotten phrases in his ears.”

Narrations crowd in like characters, with double agents, one called Bloaters, between  narrations. History versus history. Geography versus geography.  Regression, retrocausality, Danubian / Southwark Borough cross-sections of time and space, self-mythologising – all this, but none of it – threaded though with a simple sad quest by artist for artist (but which artist and for whom), with readers intervening with their own differing malicious interpretations.  [I spotted myself in one of the earlier pictures.] 

It’s getting late. Hopefully, when I next engage with this book (tomorrow?), I shall be able to reconcile some of the above thoughts I’ve thought tonight. (30 Nov 10 – another 3 hours later)



“She was deciphering signs again, finding patterns that were not there, at least to me.”

All depends who ‘me’ is!

This chapter starts as a more linear audit trail of Marlene’s search for Spare’s Satyr-self in my Mother’s underground (tube station) shelter from Bowen’s Blitz – scattered with almost items (litter?) of her ‘found art’ – danubes and demons cohering from the darkness, until I am – with mixed feelings – literally accosted by Bloaters.

I don’t want to give the wrong impression. This book is linearly compulsive plot-from-prose; it’s just that I have to beware pitfalls.  It’s as if I have (or am due to) become one of the characters. Nobody’s default.  I am simply perhaps another of those faces on Henry Moore’s visions of the Blitz underground (7th and 8th paintings down on the page HERE). (1 Dec 10)


“A paint-daubed table cluttered with creased pages…” Or danubed?

I have become one who now surely meets Spare for real. Anything else about this meeting (the conversation, the environs) would be a spoiler. And as a reader, you can also see, I remain entranced, if not entrammelled.  Also, “…I’m no stranger to the spaces between … those veiled … subtle regions … those slippages and furrows. The strangest tails can be our own.” Or ‘trails’? (1 Dec 10 – another hour later)


”  ‘You’re not going anywhere. I’m keeping my eye on you now, Hughesy.’ ”

Or ‘who’s he?’?

Who am eye?

Dickensian / Ackroydian machinations lead into fireworky air raid. Machinations that I dare not impart in detail. At least you did not need to be prematurely privy to things you should not know to know that the Satyr-seeking artist’s real name could not be Marlene Dietrich. Although she appears on posters. (1 Dec 10 – another hour later)


“Piles of posters bearing Marlene’s face were stacked on the floor.”

Breathless narrative – amid effective mass-hysteria and Horror genre and Bowenesque images of the effects of the Blitz – echoing my utilisation of the trust I originally took (or offered) by reading this book in the first place.  By taking on the plot’s pursuit itself. Outside in. (1 Dec 10 – another 90 minutes later)


“…she’d kept repeating something Spare had told her: ‘The strangest tails can be our own.'”

Writing a real-time review is a special reading-journey on the internet – a journey that takes place within a single reading mind, beset by all the foibles of the moment.  The question is: does this affect the journey itself, i.e knowing one is publicly describing that journey as it happens?

That rhetorical question is thus writ all over many of my real-time reviews and has at last been answered by THE SATYR. You will have to read this involving novella to find out how wonderfully it does so.

“…sealed so far inside myself…”

END (1 Dec 10 – another 45 minutes later)


Filed under Uncategorized