Thursday, February 13, 2014
David J. Schow has been immortalized as one of the founders of the Splatterpunk sub-genre of horror that came to prominence over the course of the 1980's. He's a writer of diverse interests, however, and this collection doesn't feature anything in the Splatterpunk genre. Instead, it features four novellas or novelettes that are indeed described in different ways by the collection's title, and a concluding non-horror story that's nonetheless deeply concerned with horror, its history, and those who love it in its many forms.
Overall, Lost Angels is a dynamite collection. Schow sets all the stories in Los Angeles (another reason for the title). The city insinuates itself into every narrative in all its weird, night-bright oddness. Hollywood players, hangers-on, and bystanders populate the stories. Schow integrates the supernatural with this Hollywood Babylon in sinister but sometimes comic ways -- one supernatural being wants its story told on film, for example.
The thematic concerns of the stories firmly place Schow within the legacy of Fritz Leiber. Like Leiber, Schow searches for supernatural situations that fit the contemporary world, or even grow out of it, per Leiber's seminal 1940 story "Smoke Ghost." Indeed, one story here is a brilliant companion to Leiber's "The Girl with the Hungry Eyes" -- or an inversion, in some ways.
Aside from that search to create new ghosts and monsters, Schow explores the loneliness of the modern urban and exurban world through romantic and familial relationships, quests through bars and parties and decaying sections of Los Angeles, and keenly observed set-pieces in very specifically imagined locations that include strange, junk-filled warehouses, topless bars for ruthless businessmen, studio offices, and occult shops with sarcastic clerks. Love, identity, and loneliness inform much of this collection. It's not that Nothing Is What It Seems...it's that Some Things That Seem, Aren't. Highly recommended.
There's some question as to whether or not Hitchcock really was over-ruled by the studio about the ending. Whether or not he was, the movie makes absolutely no sense with the ending it has. The possibility that Hitchcock always intended the film to suggest that one character is delusional only makes sense within a framework in which either a number of events never actually occur, in which case the character is insane, or the events do occur but are coincidental, in which case the entire universe is insane.
Suspicion was a big financial success and gave Hitchcock a lot of creative control thereafter, as this was also the first film he produced as well as directed inside the Hollywood system. Regardless of the ending, the gender dynamics in Suspicion have dated so poorly that it's agonizing for repeated stretches, and not in a way that's enjoyable unless you're writing a paper on gender dynamics in Hitchcock films. Fontaine certainly gives some sort of performance, as she's on-screen for almost every minute of the movie. Grant is uncharacteristically menacing, which is interesting in and of itself.
There are the usual bravura Hitchcock touches, including a host of scenes in which shadows suggest spider-webs enveloping the characters, and the famous Glowing Glass of Milk Scene, which comes almost at the end of the picture if you're waiting for it. But for a 99-minute movie, this is awfully draggy, with almost schematically unlikeable characters made completely baffling by that godawful ending. But it's Hitchcock, so it's still lightly recommended.
Monday, February 10, 2014
Charles Beaumont's career output would be good for someone who'd lived to be 80. As he died before he was 40 from what appeared to be Pick's Disease and/or Alzheimer's Disease, that output becomes even more impressive given that his last few years saw many of his friends 'ghosting' for him so that he could meet his writing commitments.
Beaumont (born Charles Leroy Nutt) became one of Rod Serling's go-to writers on The Twilight Zone, credited with writing or co-writing 22 episodes. Much of Beaumont's short-story output was in the fantasy genre, with forays into absurdist science fiction and suspense stories with twists. But not all. This volume, collected in 1960, consists almost entirely of stories from Beaumont's breakthrough years into the well-paying slicks, specifically that new magazine on the block, Playboy.
And one can see, in several of these stories, a writer pushing at his own comfort zone, moving away from a strict genre construction of things. "Buck Fever" seems like an homage to Hemingway, but an homage inverted in its view on hunting and the modern man. "Night Ride" and "The Neighbours" have twist endings of a sort, but neither is even remotely a thriller or a fantasy story. And "The Music of the Yellow Brass" seems like a melancholy tip of the hat to Ray Bradbury in his Mexican phase, with a twist that only increases the mournful quality of the story.
It's the genre stories here that seem slight; the much-anthologized "The Howling Man," adapted for The Twilight Zone, seems like something of a gimmick next to the more realistic rhythms of "A Death in the Country." "The Neighbours," while something of a 'preachy,' nonetheless provides strong characterization and much more satisfaction than the similarly structured "The New People."
Many have noted that Beaumont may be one of the most influential fantasy writers of the 1950's and early 1960's because of his naturalistic prose style, concerns with suburban fantasy, and high-profile Twilight Zone output. This collection also suggests a writer in the process of growing despite the commercial success that had already come his way -- it, too, is melancholy, a gesture towards a later career and a later man that never was. Recommended.
Sunday, February 9, 2014
Dick certainly didn't aim to predict the future; what increasingly disturbs in his work is his ability to predict the attitude of the future, our present. Various forms of mediated realities, dream-states, trance-states, and constructed environments play a part in The Three Stigmata of Palmer Eldritch, with the boundaries blurring between them throughout the novel.
Things on Earth and in Earth's colonies in the Solar System are pretty grim as the novel begins. Earth is getting hotter, to the extent that nobody goes outside unprotected during the day-time. Earth's colonies on various worlds and moons are such a grim slog that the United Nations forces people to relocate there -- and once there, almost all citizens quickly become addicted to the drug-enhanced game of Perky Pat, which I am not even going to try to explain at length here. It involves a virtual reality and a form of mind-sharing.
From Proxima Centauri returns the explorer Palmer Eldritch. And he's got a new drug. One that seems to promise an endless ability to reshape one's own past, perhaps in a virtual state, perhaps for real. But what does he get from this, other than money? A handful of people will try to find out, or possibly die trying. Or something.
It's a deceptively dense novel with a nicely defined group of protagonists, or antagonists, depending on the situation. Dick's wealth of invention is at full burn: the pervasive use of precognitive humans to predict what new products will sell is one such touch, and there are many others. It doesn't look like our future at all, except that it looks exactly like it. Highly recommended.
Saturday, February 8, 2014
Leiber was probably the best writer of all those science-fiction and fantasy writers who collectively formed the 'Golden Age' of science fiction (basically, the 1940's) and went on to continue to define the genre(s) in the 1950's and 1960's. Indeed, his cynical, often dystopic takes on the future in his 1950's and 1960's work make him more at home in the company of writers who came of age in those decades, when Leiber (born around 1910) was already middle-aged and older.
Leiber came from a theatre family, and while that isn't much of a factor here, it was in other stories. He also corresponded with H.P. Lovecraft in the 1930's. He wrote several Lovecraftian stories over the course of his career, some pastiches, some revisionist takes that explored what one could do with cosmic horror.
"The Black Gondolier" was written for an Arkham House anthology, and it pays homage to Lovecraft in structure (and concluding italics) while nonetheless situating the horror within Leiber's expert, long-time evocation of terrible horrors with new, modern incarnations and meanings. Here, that places a strange and creeping horror somewhere in or below California's Venice (Beach) in the early 1960's, that odd and rundown simulacrum of Italy's Venice, but with way more oil wells.
Leiber ranges far throughout this collection, which samples Leiber's dystopic, sarcastic science fiction ("The Creature of Cleveland Depths," which somehow manages to satirize the current culture of the Smartphone), and his grimy urban twists on traditional horror tropes (the Ghost in "I'm Looking for Jeff" and the Vampire in "The Girl with the Hungry Eyes").
We also get cosmic horror that seems closer to Algernon Blackwood in "A Bit of the Dark World," all of it occurring in the sun-drenched hills above Los Angeles, a sort of cosmic Noonday Devil. Leiber's affection for mathematical problems and chess manifest in the oddly moving ghost story "Midnight in the Mirror World." Finally, we visit the time-spanning, reality-changing war of his Changewar series in "The Oldest Soldier," as the war between the time-travelling groups known as the Snakes and the Spiders wanders into a neighbourhood bar.
In all, this is a fairly representative sample of the breadth and depth of Leiber's decades of writing, with only his seminal and the career-long influence on sword and sorcery fiction being truly neglected. Highly recommended.