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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.
‘It was on this precise spot, as I remember it, that Calica stood to address the senate, urging caution in the Empire’s eastern expansion. It was down there that Juvens replied to him, arguing boldness, and carried the day. I watched them, spellbound. Twenty years old, and breathless with excitement. I still recall their arguments, in every detail. Words, my friends. There can be a greater power in words than in all the steel within the Circle of the World.’
‘A blade in your ear still hurts more than a word in it, though,’ whispered Logen. Jezal spluttered with laughter, but Bayaz did not seem to notice. He was too busy hurrying from one stone bench to another.
A few months ago I came across this very interesting discussion by Joe Abercrombie. I had become a fan of the writer since my review and his account of how he was unfavourably compared to J.R.R. Tolkien by Leo Grin raised a grin. This notion of moral relativism in fantasy is quite an amusing one, particularly since the last thing The Lord of the Rings is about is righteousness (Hobbits being made of much softer stuff than warriors and kings, yet in the end winning the day). The comparison was playing on my mind when I began reading this book though.
After the events of the previous novel, Logen Ninefingers finds himself trekking into the wilderness in the company of a legendary wizard, Bayaz First of the Magi, chasing after a long-lost weapon. Colonel West has been handed the unenviable task of ensuring the foppish Crown Prince Ladisla achieves a safe military victory in the Northern territory of Angland. To the south Inquisitor Glokta has been assigned to protect the city of Dagoska from an implaccable foreign army. His mission is hopeless, but he is spurred on by his hatred for the people who broke his body under torture, leaving him a bitter and twisted shell of a man with a razor sharp mind.
With the business of introducing the cast of this series done by The Blade Itself, Abercrombie concentrates on delivering sizable conflicts on a grand scale. The siege of Dagoska in particular is horrific, with Glokta using every trick he can think of to stall the Gurkish army in their progress. West finds himself in the centre of a rout when the arrogance of the Crown Prince, and a peculiarly wily enemy who outmaneuvers the main body of the army, forces him to flee a devastating assault. In the company of a motley gang of Northmen exiles he desperately tries to hang on to his civilized bearing and perform his duty in protecting the life of Ladisla. Unfortunately nothing would make him happier than to take the selfish prig’s life.
To all intents and purposes it is Logen’s sections of the series that supposedly describe the central narrative. Abercrombie gives us a sense of scale with the different outbreaks of war, but Ninefingers and his fellow adventurers are evidently on a quest, of the sort most common in fantasy novels. This is where I began to think of the comparison made by the uppity Grin. As it happens much of the material was disturbingly familiar. Bayaz is a flawed and occasionally unreliable magus, much in the way of Gandalf the Gray. The group visit the devastated city of Aulcus, which reminded me a little of Moria with its ominous shadows and incredible grandeur gone to rot.
My worry is that fantasy novels invariably begin to plough the same furroughs. I could mention that Robert Jordan also echoed Moria with his Shadar Logoth, yet another haunted city. Just how many wizards and weather-beaten warriors have traipsed before our eyes on the page over the years. The author here has a running joke that the magi all speak in riddles and circumlocutions, which few of the other characters have any patience for, a welcome criticism of the genre.
Abercrombie’s theme though is that the characters in this series The First Law Trilogy are in effect all monsters. Some are simply better at hiding it than others.
Perhaps the material is familiar, but Abercrombie still invests his writing with far more bite than most out there. Plus these books are very entertaining and deliciously black humoured. I cannot wait to read the next entry.
The advance of regret can be so gradual that it is impossible to say, ‘Yesterday I was happy, today I am not.’ At no one moment did Lilia realize that her marriage was a failure; yet during the summer and autumn she became as unhappy as it was possible for her nature to be. She had no unkind treatment, and few unkind words, from her husband. He simply left her alone.
As an introduction to the writing of E. M. Forster I do not think I could have done better. After all, this novel marked his own debut and as such, here the reader witnesses his first attempts to construct a subtle and gripping narrative of social mores. However, for the majority of the book I was confused. Was Forster satirising these English toffs abroad, or did he in fact approve of their condescending snobbery? It was only after the book’s conclusion that I realized just what Forster had achieved – a genuine work of compassion, unrestrained in its perspective on human weakness.
When recently widowed, yet worryingly vivacious, Lilia Herriton agrees to travel to Italy to go on an extended tour of the sites, the in-laws breathe a sigh of relief. The attentions of certain suitors of the young woman raised the spectre of a scandal, which they could not abide, and they trust in the efforts of her companion Caroline Abbott to be a champerone in her travels. The Herritons calm is disrupted when a letter is received from Lilia informing the family that she had made a new match with a native of the Italian town of Monteriano. The youngest Herriton son Philip is sent to recover the family’s honour only to discover that it is too late. Lilia has already married Signor Gino Carella.
The news could not be worse. Not only has the young widow and mother left her child behind in England, with no apparent interest in returning, she has chosen to marry the wastrel son of the town dentist. Philip is humiliated by the encounter with the couple, his plan to pay off the Italian foundering when Gino realizes staying with Lilia is far more profitable. He also blames himself for the entire situation. After all, had he not been the one to first sing the praises of the Italian countryside and the mercurial character of its people? Had he not encouraged Lilia to go on her tour, filling her head with ideas of high culture and art – romance, the thing he yearns for the most?
Philip leaves Italy disenchanted, embracing the cynicism of his mother, while Lilia is left to her domestic life with Gino which soon begins to lose its charms. By finally defeating her upper-class and superior in-laws has she only managed to strand herself in a country estranged from everything she knows?
At one point Caroline Abbott accuses Philip of been unable to take a stance on anything – he insists on sharing everyone’s point of view. It is a critical moment in this book as it reflects Forster’s own stance on human nature, weak, fallen, lovable, hateful and doomed all at once. Apparently the narrative itself was inspired by a disastrous trip across Europe that the young man shared with his mother, with much moaning and complaining about migraines and bad food. That privileged perspective on Europe, the site of many an upper-class aristo’s ‘tour’, persists but there remains a genuine sympathy for these characters, enriching the material throughout. Gino in particular seems to be the archetypal spoiled brat, using a callow rich woman for her wealth, but Forster shows that the boy-man has his own charms and needs. Lilia is tragic in her desire to still live up to the standards of the Herritons even after she has finally escaped from them, while Philip’s wish to be an aesthete, indulging himself in high-falluting talk about civilization and Old Europe comes undone when confronted with the pain of real life.
This is a wonderfully judged and subtle work, a remarkable achievement for a first novel.
I saw him watching me in the gilded mirrors with the assessing eye of a connoisseur inspecting horseflesh, or even of a house-wife in the market, inspecting cuts on the slab. I’d never seen, or else had never acknowledged, that regard of his before, the sheer carnal avarice of it; and it was strangely magnified by the monocle lodged in his left eye. When I saw him look at me with lust, I dropped my eyes but, glancing away from him, I caught sight of myself in the mirror. And I saw myself, suddenly, as he saw me, my pale face, the way the muscles in my neck stuck out like thin wire. I saw how much that cruel necklace became me. And, for the first time in my innocent and confined life, I sensed in myself a potentiality for corruption that took my breath away.
The next day, we were married.
I found myself in the unusual position of being scolded by this book’s introduction, written by Helen Simpson. “The Bloody Chamber is often wrongly described as a group of traditional fairy tales given a subversive feminist twist. In fact, these are new stories, not re-tellings.” Well shut my mouth! I have been going around for years saying, oh, I really want to read this book by Angela Carter. It’s like a feminist retelling of fairy tales. Sounds amazing.
Apparently I was wrong.
Well I am happy to take those lumps, but I might argue that bringing to the fore the sexuality of these heroines in Carter’s fairy tales is feminist insofar as it presents their sexuality as relevant to the text.
Consider the title story, which opens with a young woman travelling to meet her fiancé, with due attention paid to the ‘pounding’ of her heart and the ‘thrusting’ pistons of the train bearing her ‘away from girlhood, away from the white, enclosed quietude of my mother’s apartment, into the unguessable country of marriage.’ The story continues in this elegiac style, risking accusations of being overwritten, but Carter is obviously having wicked fun with this tale of a woman who discovers her new husband carries a dark secret. The Bloody Chamber flirts with the divide between sex and death, the marital consummation equated with ritual murder, the narrator unquestioningly pulled this way and that as if by tidal forces between her mother and her husband.
The following stories, The Courtship of Mr Lyon and The Tiger’s Bride both address the same source material, a recurring technique within this collection, namely Beauty and the Beast. The first story appeals to the high romance of the tale, especially in its numeroues retellings. The second riffs on a cruder sense of humour and explores the venality of ‘Belle’s’ father in losing his daughter to the Beast, not to mention her own knowing mockery of his intentions towards her.
The Company of Wolves, most famously adapted by Neil Jordan, The Werewolf and Wolf-Alice, the last story in this collection, are all riffs on different aspects of the Little Red Riding Hood story. A similar separation, as with the previous stories depicting different aspects of Belle, is attempted here. The young heroine appears either as an innocent, a woman who uses the desire of the wolf to survive, or a more lupine creature herself.
Puss-in-Boots is transformed into a bawdy farce about a young lover and his feline valet. ‘So all went right as ninepence and you never saw such boon companions as Puss and his master; until the man must needs go fall in love.’ A rich vein of cynicism is explored in this story, with romance simply another scam, another challenge for the wicked pair.
My favourite of the bunch has to be The Lady of the House of Love. This is an extremely funny take on the traditional vampire myth, with a lonely undead Countess feeding on young men who pass through the abandoned village beneath her castle. Until one day, a cyclist on leave from the war arrives to drink from the fountain and is directed by the castle’s maid to visit. Instead of being seduced by the grandeur and ostentation of the abode, he sees nothing but mould and decaying furniture. Completely devoid of imagination he is immune to the charms of the vampire. I learned on the weekend that this young hero was apparently based on an artist neighbour of Carter’s. Quite the poison pen she had.
Deliciously wicked and very funny.