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“There was an incident,” he said. “A series of incidents, I guess. A dead guy, another dead guy. Some drugs. It’s kind of a long story. Now we can see things. Sometimes. I have a dead cat that follows me around, wondering why I never feed it. Oh, and I had one hamburger that started mooing when I ate it.” He glanced at me. “You remember that?”
I grunted, said nothing.
It wasn’t mooing, John. It was screaming.
John Dies At The End was originally a story serialised on a website. Then it was published as a book. Now it’s about to be released as a movie, directed by Don Coscarelli who made Phantasm and is therefore a very cool person in my book. Here have a look at the trailer. My high concept for the story is William Burroughs rewrites Bill and Ted’s Excellent Adventure. It made me laugh, a lot. More impressive though is that it also managed to disturb me with the implied horrors bubbling along beneath the comic banter between our hero David Wong and his friend John.
As David is telling the story of his adventures – actually during the course of an interview with a reporter named Arnie – we learn that his name has been changed to make him harder to find, presumably by the obsessive fans who follow his adventures online given his growing reputation as a combater of supernatural threats. See one night David and his friend John – also not his real name – were at a concert in the town of Undisclosed (many of the details in the story are redacted for legal reasons) when they encountered a strange fellow pretending to be Jamaican and supplying folks with a drug called Soy sauce. It was a hallucinogen, those who took it experienced visions, heightened senses – as well as death. Overnight almost every person who met the fake Jamaican had died mysteriously, except for John.
The two friends quickly realized that Soy sauce is not just a drug. Following their exposure – David accidentally manages to inject himself – they become aware of strange creatures massing on the borders of this dimension. The end of the world is coming and its only hope is two confused video-store clerks who don’t really understand what is going on.
Much like House of Leaves by Mark Z. Danielewski, John Dies At The End cleverly embraces the capacity of the internet to spread stories. Through the course of the book we learn that David and John are becoming more famous, a neat parallel for the growing interest in the book itself online. This is also the source of the story’s greatest strength. By rooting itself in the commonplace weirdness of the internet – every possible combination of aliens, demons, magic and superscience is just a google search way – the book apes an almost convincing plausibility. The seeming personal testimony of Wong, the pseudonym of Cracked.com contributor Jason Pargin, is also a nice gimmick.
However, the story also has a number of poignant moments surrounding death and our awareness of our mortality. It pop-nihilism, stripping away the ponderousness of Lovecraft’s Cthulhu-beasties but retaining the crushing awareness of our cosmic insignificance, is surprisingly compelling. There is a lot of laughter to be found in these pages, but also a creeping sense of dread.
Finally it must be said the ending for this book, a book which is relentless in its foreshadowing of endings, is simply perfect. I cannot wait to see the movie.
The book of war, the one we’ve been writing since one ape slapped another, was completely useless in this situation. We had to write a new one from scratch.
I reread Brooks’ follow up to the Zombie Survival Guide just as news broke that Glasgow had been converted into downtown zombie besieged Philadelphia for the Brad Pitt film adaptation. That earlier book featured a series of tongue-in-cheek survival techniques for dealing with the imminent time of the undead rising to feed upon the flesh of the living. If you go into a bookstore you’ll like as not find the Guide in the humour section. But the interesting section in the book was its latter half when Brooks introduced a series of short ‘histories’ featuring zombies tropes being applied to a number of unfamiliar settings. My favourite was the zombies in the French Foreign Legion narrative.
For World War Z Brooks revealed that the zombie apocalypse has already happened and following years of hardship humanity is slowly rebuilding itself. This time the storytelling device is that our narrator is a bureaucrat traveling around the world assembling a report on the outbreak of the mysterious disease that caused the ghouls and how it led to the breakdown of civilized society.
The one and one interviews between the narrator and the individuals he meets allows Brooks to introduce a series of contrasting genres into the monotonous zombie horror format. There are military exercises, home invasions, scientific inquiries, political satire – World War Z becomes a wide-ranging critique of many aspects of contemporary culture.
With brain-munching on the side.
Given the variation between the interviews, the tone shifts drastically from ‘objective’ reportage, to comedy, tragedy – even psychological suspense. There has been much comment over the years in relation to the celebrity cameos hidden in the text, from an apathetic Paris Hilton, to Howard Dean and even Nelson Mandela. There is even something blackly comical about Brooks pitching that the only event that could lead the political parties of the United States to unite is the near annihilation of the human race. As such this functions in the best tradition of post-George Romero zombie horror, happy to indulge in both gore and allegory.
There is no plot as such in this book. Rather this is a fictional history of the events that follow the outbreak of World War Z. Brooks was apparently inspired by the documented history of the second world war. Despite this the book is genuinely powerful, avoiding the calculated phrasing of the official report it will come to create. Indeed the narrator frequently alludes to how the official account will exclude much of the personal detail included here. That is possibly the smartest aspect of the book, how it balances the immensity of the horror unleashed with the ‘official version of events’. Compare this to Seeing by José Saramago, the sequel to Blindness, where we discover the government has completely buried the spontaneous lose of sight of an entire city’s population. Ultimately the characters introduced by Brooks are left to deal with the sights they have witnessed and the tragedies they have experienced alone.
This is an instant horror classic, which rises above its brain-dead peers.
Lint’s first novel was published by Dean Rodence’s Never Never company in New York. The relationship between Rodence and Lint was one of complete mistrust, rage and bloody violence. When submitting work in person, Lint insisted on appearing dressed as some kind of majorette. ‘He was a large man and clearly wasn’t happy at having to do this,’ explains Fleece. ‘He blamed Rodence, was resentful. I still don’t know where he got the idea he had to dress that way when handing his stuff in.’
Obviously I had to come back for more.
Lint is the biography of a eccentric science fiction author named Jeff Lint, detailing his career writing for pulp magazines such as ‘Startling, Astounding, Baffling, Useless and Terrible‘ to his abortive animated show Catty and the Major and finally his retreat into reclusiveness, interrupted by the occasional obsessive fan. Steve Aylett describes the circumstances surrounding the conception of novels such as One Less Bastard, The Stupid Conversation and I Blame Ferns, as well as his controversial comic book The Caterer.
Aylett also discusses Lint’s series of failed marriages, including one union which collapsed when a presumed facial scar belonging to the author was revealed to be a sleep-crease and then there’s his fractious rivalry with fellow author Cameo Herzog, who goes out of his way to destroy the career of the bemused Lint. Success came tantalisingly close for the writer. His forays into entertainment produced scripts that eventually became Patton and Funny Girl - although the final screenplays were entirely different (George C. Scott is revealed to have been quite fond of Lint’s original piece Kiss Me, Mister Patton) He had less success with Star Trek, deciding to emphasise the essential boredom of Gene Roddenberry‘s future utopia with an episode titled The Encroaching Threat. While the teleplay was never filmed, Aylett shares with readers some highlights of the script including:
For the duration of ‘The Encroaching Threat’ the new character Chekov is said to be ‘flirting with McCoy’ and Sulu is repeatedly seen ‘lurking’ near a doorway while ‘sinister theramin music’ plays.
As it happens this book has been made into a film, a documentary in fact on the life of the mysterious Lint, with the likes of Stewart Lee, Jeff Vandermeer and Alan Moore appearing to discuss the legacy of the author. Here‘s one of the teaser trailers released.
This is possibly the funniest book I have read in….it’s the funniest book I have read! Jeff Lint is part Philip K. Dick, part L. Ron Hubbard, with a couple of other parodies thrown in to the mix as well. Aylett’s insistence on the writer’s genius, investing great meaning into his every utterance such as this line from his autobiography The Man Who Gave Birth To His Arse: ‘What I wrote then was a surrender to the bathysphere part of the human mind. Despite platitude universes beyond the door, I dealt in squalls of unimaginable intensity. I was in the fully-fledged moment. Happy and volatile, I roared through the labyrinth of bad gems,’ - making for a very amusing, neat satire of academic overanalysis.
One final story. While I was enjoying Lint on the train home from work one evening this young woman across the aisle started loudly conversing with a friend on the phone. I very quickly knew more than I cared to know about her social life, her education and opinions on said friend’s intelligence – so I, in turn, began to read from Lint, loudly and clearly, declaiming Aylett’s absurdist wonderland to the carriage at large.
I still maintain that my obnoxious performance was the more entertaining of the two.
Read Lint. It’s good.
The elders had always maintained, without even the slightest wavering on the matter, that we Survivors were the only ones of our kind. But they had taken it so much further than that, insisting that there were no other supernatural creatues in this world, nor had there ever been. Recently, in late night discussions with Lizzie and Sarah, elders with whom I felt close, they had told a few of us tales of how the outside world believed in creatures that God did not create. They had given us some aging copies of literature that a select few from my generation – Noah, Benjamin, and me – were allowed to read. We each got one book that, in turn, we’d end up sharing with each other. Until then, we had only ever read the Bible. Noah received a copy of Shakespeare’s Macbeth, Benjamin got a copy of Beowulf, and I got a tattered, gold-lined compilation of Hesiod works including Theogony and Works and Days.
Some months ago I first encounted Amanda Havard over Twitter. She is one of an exciting new generation of writers who fully embrace the potential on blogging and online tools for the purposes of book promotion. It is an exciting development in contemporary writing. I was very happy when Amanda offered me the opportunity to read her novel – an offer I would never have received without the agency of Twitter and my own blogging project.
The story opens with a group of children exiled in the wilderness during the time of the Salem witch trials. Miraculously the majority of the minors survive the outdoor extremes – and take ‘The Survivors’ as their name and the definition of who and what they are.
Then the narrative jumps forward in time several centuries to the present day. We meet Sadie, a Survivor who is travelling to her friend’s wedding. It is quickly revealed that she is an unusual member of the community that has survived in isolation since their exile from the human world. For one – she has left. The Survivors have based themselves rigidly on religious precepts taken from the Bible, searching for a divine explanation for their own supernatural abilities. In addition to long life, each of the colony has certain powers. Sadie is considered undeveloped because her own skills have not evidenced themselves as readily. This outsider status informed her inquisitiveness and her consequent leaving of the colony and everything she has ever known to explain the outside world.
But are the Survivors really alone in this world, or is there more to their mysterious status as as society of immortals?
What I enjoyed the most about this book was how Havard demonstrates how Sadie has acclimatised herself to modern life after centuries of isolated existence. It is quite telling that a story that begins with the Salem witch trials is preceded by a musical quote from Coldplay. Sadie even has a Twitter account (I was tempted to investigate whether it existed or not). The character’s online activities reflect the author’s own online engagement strategy – somewhat meta that. While Sadie has lived a sheltered – obsessively so – life behind the walls of the Survivors’ colony, Havard establishes that she has managed remarkably to cope with the vagaries of the outside world. She is a true Survivor.
The influence of J.K. Rowling and Stephenie Meyer is evident here. Personally though I much prefer this work, because its breadth of reference is broader. Yes there is the requisite love triangle of Paranormal Romance, but it is informed by a central character who is legitimately conflicted. She has left behind everything she knows because of simple curiousity and as a narrative motivator, I find that quite a bold choice as opposed to random chance, or the disaffection of Bella Swan.
Also, that title font with the stand-out scarlet ‘S’ is just a delightful stylistic choice.
This is an entertaining and intriguing start to a new Paranormal Romance franchise. I look forward to the next entry in the series.
With thanks to the author for my review copy.
The vampire recovered his equanimity quickly enough. He reared away from Alexia, knocking over a nearby tea trolley. Physical contact broken, his fangs reappeared. Clearly not the sharpest of prongs, he then darted forward from the neck like a serpent, driving in for another chomp.
‘I say!’ said Alexia to the vampire. ‘We have not even been introduced!’
Certain books tell you all you need to know about them very quickly. The above exchange occurs on the second page of Soulless: An Alexia Tarabotti Novel. Immediately I knew what to expect from this novel. Quite reassuring really.
Alexia Tarabotti suffers from an indelicate social standing. She is both twenty-five years old and unmarried. What is more, to add to her near-outcast status, she is half-Italian and considered far too bookish for a lady hoping to wed in late-nineteenth century London. What is less well known about Alexia though is that she also lacks a soul, a quality which defines her in the files of Queen Victoria’s Bureau of Unnatural Registry as a preternatural, an extremely rare condition that allows her to literally ‘defang’ vampires and werewolves at a touch.
For her though this is simply yet another questionable trait inherited from her deceased father. Her mother, Mrs. Loontwill, has since made a more respectable match and guided two further daughters into society, whose pale skin and chatter contrasting sharply with their half-sister.
Then Alexia is forced to dispatch a vampire attacker at a ball! The indignity of it all. BUR agents and werewolves Lord Maccon and his beta Professor Lyall interview Alexia at the scene. She reveals that she noticed the vampire was unaware of any of the proper social conventions for a member of the undead class to observe, plus his fashion sense was dreadful, indicating that someone is transforming humans outside of the London vampire set, known as hives. Maccon and Alexia exchange barbed comments, both having reached a highly negative opinion of the other. However, over the next few days as our parasol-sporting heroine discovers more about the conspiracy behind her attack, it is Lord Maccon who continues to come to her aid, even rescuing her from a monstrous figure with wax-like skin and an eerie grin. Could the Lord Earl of Woolsey’s feelings for her extend beyond his outward shows of irritation? Has she finally made a suitable match for a husband? And where are all these uncouth vampires coming from?
This book is an absolute delight. Mixing Wodehousian banter and innuendo with the social climbing drama of a Jane Austen novel and then serving up a heady melange that includes many different varieties of supernatural beastie, Gail Carriger has produced a masterful debut. In a sense this book is a natural successor to the mash-up phase of the past few years, which has begun to endure something of a backlash.
Here the paranormal romance features a courtship that raises a hearty chuckle, the monsters of the gothic novel restrained by societal convention to hilarious effect. Lord Maccon is not only an alpha male, he is an alpha werewolf male and Scottish to boot, which leads to no end of mockery by Alexia, herself considered too headstrong and fixed in her ideas by her contemporaries. The banter between them is sustained beautifully, with the rueful Professor Lyall acting as an occasional agent of Cupid.
Of course any work of escapism deserves a worthy central plot and Carriger fashions up a terrific yarn involving religious intolerance of the undead and twisted science. Overall this is a great package, with lots of clever little touches accessorising the main story in a fitting manner.
I am happily converted and am eager to gobble down the rest of the series. Madame Carriger, I doff my hat to you.
The crowds in St. Peter’s Square parted as the Prod Bigot Incompetents rushed the IRA Jesuit.
Father Ryan O’Brian was almost taken by surprise as the howling bluenoses came charging through the crowd, decked in Rangers strips and King Billy tattoos. Not a sight you saw every day in Vatican City.
“Aw, not youse lot again,” he sighed, producing a heat-seeking surface to surface missile launcher and a Stanley knife from under his cassock.
Stephanie, early on in my blog-writing career, tried to convince me not to use any swear-words in these reviews. I have a foul mouth sometimes, so it was tough. This book, however, this book almost defeated me. It has more cursing per square inch than a pub showing Monday night football.
The plot, such as it is, is concerned with the millennia long history of conflict between the Church and the State. We meet Jesus and his disciples in a scene reminiscent of Cyrus addressing the gangs in Walter Hill’s The Warriors. The Apostles are in fact a revolutionary brotherhood of peace and love and Jesus has returned to them to rap about eternal life. Of course then Saul shows up and ruins everything, deciding following the massacre to follow the letter of Christ’s teachings if not the spirit and found the monolithic Holy Roman Empire. We then cut to Henry VIII, speaking along with his courtiers in a thick Glasgow accent, breaking from Rome and sparking the present-day conflict.
Father Ryan O’Brian is at the centre of the conflict, a wiley assassin who specialises in playing one side against the other. The Pope presides over a corrupt cabal of deviants who are attempting to undermine the Queen of England. She, in turn, is a foul-mouthed monster, whose three sons are plotting to murder her in order to acquire the throne. O’Brian is not able playing his cards close to his chest in these colossal conflict, he appears to be unkillable. God literally loves him too much.
Scatology rules the day in this book, building to an appropriately literal apocalypse, but the moment I decided I was actually having fun was when the author inserted an ad for defunct publisher Attack! Books into the book itself! I found an interview with editor Steven Wells outlining the approach behind these hyper-pulp novels. The scene with the unnamed Queen, face smeared in baked beans (….I guess it’s a fetish) laughing herself into hysterics while reading various titles from the imprint such as Tits-Out Teenage Totty, Satan! Satan! Satan! and Ebola 3000, followed by a postal address for any prospective new readers to order their own copies.
Now that’s funny.
Yes the language is rotten to the core. I am sure your average person on the street will be offended by Udo’s descriptions of venal priests, idiot princes and a psychotic Queen. He intersperses chapters with a series of extracts from conspiracy theories regarding the death of the Princess of Wales, the ties between the Royal Family and Nazism and in turn Hitler taking inspiration from the structure of the Jesuit order. The overt message of the book is that these two institutions cannot be trusted, built as they are on a history of conquest and war.
Oh and Jesus was a socialist.