I picked several books from both sources, and am including quotes to show just a sliver of the wisdom within these books. Of the lists, I chose books that I’ve read, heard the audio version, or seen the movie version.
“Better never means better for everyone… It always means worse, for some.” ― Margaret Atwood, The Handmaid’s Tale
“The longest way must have its close — the gloomiest night will wear on to a morning.” ― Harriet Beecher Stowe, Uncle Tom’s Cabin
“There must be something in books, something we can’t imagine, to make a woman stay in a burning house; there must be something there. You don’t stay for nothing.” ― Ray Bradbury, Fahrenheit 451
“Well, I’d rather be unhappy than have the sort of false, lying happiness you were having here.” ― Aldous Huxley, Brave New World
“Although the villagers had forgotten the ritual and lost the original black box, they still remembered to use stones.” ― Shirley Jackson, The Lottery and Other Stories
“To love is to be vulnerable; and it is only in vulnerability and risk—not safety and security—that we overcome darkness.” ― Madeleine L’Engle, A Wrinkle in Time
“There’s a lot of ugly things in this world, son. I wish I could keep ‘em all away from you. That’s never possible.” ― Harper Lee, To Kill a Mockingbird
“The community of the Giver had achieved at such great price. A community without danger or pain. But also, a community without music, color or art. And books.” ― Lois Lowry, The Giver
“Doublethink means the power of holding two contradictory beliefs in one’s mind simultaneously, and accepting both of them.” ― George Orwell, 1984
“Brave doesn’t mean you’re not scared. It means you go on even though you’re scared.” ― Angie Thomas, The Hate U Give
I wanted to enjoy this book more than I did. The set up for the book is large … The blurb on Amazon includes the bold sentence: “The entire careers of Philip K. Dick, Keith Laumer, Alfred Bester, Charles Harness, and Philip Jose Farmer were created or influenced by The World of Null-A, and so it is required reading for anyone who wishes to know the canon of SF classics.”
Talk about lifting your expectations.
I enjoy Philip K. Dick’s (PKD) stories, and I can see the influence of A. E. van Voght’s book on PKD’s short story “We Can Remember It For You Wholesale.” That story was made into the movie Total Recall(1990) starring Arnold Schwarzenegger, adding more action to stretch the story (which makes sense if you’ve got Arnold in the driver’s seat).
Back to The World of Null-A … I liked how the story started, with Gilbert Gosseyn about to join the games of the Machine, an immense structure comprised of 25,000 “electronic brains.” Winners of the games get to take a trip to Venus, which in this book is a forest planet. And if you do well in the games, you are chosen to be among the leaders on Earth.
A lie detector surprises our main character by saying he is not Gilbert Gosseyn, then adds that no knowledge exists in his mind about his true identity. So who is this guy? Through the rest of the book, the character is still called Gilbert Gosseyn as he searches for clues to his hidden identity.
The plot expands to include a cast of characters who are interested in Gosseyn, some of them thinking he has a role to play in an invasion from an empire that wants to take over Earth and Venus. Gosseyn jumps a couple times between those planets in his hunt for his true background.
“Null-A” means “non-Aristotelian logic.” Some people in the book have had Null-A training and are supposedly able to think more rigorously and more nimbly than others.
A story around the novel is interesting …
Back in 1945, author Damon Knight heavily criticized the book. Then, jumping to 1974, he offered context that softened his earlier criticism and gave a reason why some readers scratch their heads about odd jumps in van Vogt’s plots:
“Van Vogt has just revealed, for the first time as far as I know, that during this period he made a practice of dreaming about his stories and waking himself up every ninety minutes to take notes. This explains a good deal about the stories, and suggests that it is really useless to attack them by conventional standards. If the stories have a dream consistency which affects readers powerfully, it is probably irrelevant that they lack ordinary consistency.” Source: Wikipedia
I’m good with “dream consistency” — it’s part of why I enjoy Haruki Murakami’s stories. As for confusion: PKD’s plots also can be confusing at times, but they keep my interest. World of Null-A didn’t do that so well.
Scott Bradfield has an informative video about Null-A on YouTube. A broader discussion of van Vogt and this book is found in Dr. Gregory B. Sadler’s YouTube channel. He and a group chat about them as part of his “Worlds of Speculative Fiction: Philosophy, Fantasy, and Science Fiction.”
I’ve heard — and said — “weird” used to describe something in a negative sense. As a put-down. But there’s a flip side, where “weird” can be a descriptor for oddities that cause fascination.
Miéville has crafted a collection of oddities, in a sort of Ripley’s Believe or Not museum. A selection of what you’ll find on display in his book: players of card games are sometimes dealt unusual cards in “The Dowager of Bees,” icebergs float and crash above London in “Polynia,” a sack with animals that was a medieval torture device comes back to haunt in “Säcken,” oil rigs walk out of the ocean and onto land in “Covehithe,” and a medical student discovers scrimshaw on the bones of a cadaver in “The Design.”
That’s just 5 stories of the 28 in this book. Other strangeness awaits.
This was my first read of Miéville’s works, and I enjoyed the bulk of the stories. They are presented as glimpses of scenes, so the strangeness is portioned out to you. Gaps between the scenes allow for the reader’s imagination to reach beyond the words. And I appreciated that. It lends to the mysteries of the stories, so they remain a bit mysterious. Floodlights are not pointed at them, to bring them fully in the open.
Some of the stories fell flat for me. Three are set up to explain trailers (for fictional movies, I suppose) — the stories proceed through time segments and tell what is happening. So we get a timeline of the trailers. Clever to use a different format for these stories, but I didn’t find them entertaining. Same with “Rules” — it felt more like notes of an idea than a story.
Still, there are some exhibits in Ripley’s Believe or Not that capture your eye and interest more than others. I found my visit to Three Moments of an Explosion well worth the time. If you’re a fan of stories by Jorge Louis Borges, Donald Barthelme, and Karen Russell, you would probably enjoy the trip as well.
This story walks a delicate line. Perhaps we will find an easier approach of starting with what the story does not want.
It does not want to be seen as pretentious. This story would never go to a chic restaurant and, upon hearing the sommelier say the restaurant has no more bottles of 1984 Fancypants Chablis, throw a fit and storm out of the restaurant. This is not one of those kinds of stories. Also, when wearing a polo shirt, this story does not “pop the collar.”
It desires to be seen as a “story among the people.” On weekends, after mowing the lawn, it sits on a patio chair and sips a common brand of beer — not a “this dude only drinks microbrews nobody’s heard of and listens to bands nobody’s heard of” type of beer.
This story wishes to entertain, in the hope that people will have a good time while experiencing it. Of course, “good time” is subjective to every reader. Some readers prefer action:
Viv dispatches the four members of Baron Lybo’s assault squad with throwing knives as she creeps around her house that they’ve entered in the night. Viv acts as a ninja using the familiar territory to her advantage. The last two assaulters fire their AK-47s before Viv’s knives plunge into their necks. The shots will cause neighbors to call the cops. Viv slings the four AKs on her shoulder and marches outside to her muscle car. Plenty of ammo is in the guns for her to attack one of Baron Lybo’s drug warehouses. But how did the baron discover Viv’s safe house? Is one of Viv’s few friends a snitch? Does her car have a tracking device?
Other readers prefer romantic comedy:
In the office’s break room, Jacqueline stands at the counter and has no way of knowing that Antonio is walking behind her when she turns around. Jacqueline bumps into Antonio. She was heading to the microwave to heat her leftover chicken curry. Both people watch in surprise as the green curry sloshes, then dollops of curry sauce leap from the container and land on Antonio’s shirt. He recovers from the surprise and says, “I better soak it before the stain becomes permanent.” As Antonio unbuttons his shirt and holds it under the sink’s faucet, Jacqueline is hit by lust/love’s gentle cheek slaps: Delicious six-pack of abs! Knowledge of good laundry practice! He chose to solve the problem instead of lashing out in anger!
But this story doesn’t want to be only entertaining. Going for thrills and laughs is a fine goal. Reaching beyond that, into the realm of admirable
(in the story’s estimation),
is to also aim for resonance. To weave a story with such emotional depth, readers will remember the story as more than “five or ten minutes I spent while avoiding my work at the office, or while I waited for the bus.” To resonate with readers, the story could show a character with weaknesses:
Parcy slumps on a kitchen chair as the dishwasher starts. Another difficult day of work. Tempting is the thought of pouring wine into one of the tall, retro-swirly decorated glasses (thrift store finds; to hell with “proper” wine glasses) and binging on a TV show. Yet, Parcy doesn’t want that tonight. There’s an urge for a meditative time. Parcy taps her phone’s screen to find the Quiet Nights album by Miles Davis. Interesting how the jazz mixes with the sound of water spraying inside the dishwasher. Parcy wonders when she’ll feel consistently confident at work. To get past the thoughts of being behind. Doubt weighs heavily. She closes her eyes and focuses on the trumpet’s music. She wishes she could ride the music, let it carry her around the apartment while rain falls outside the windows.
The story’s aim is for this kind of character, contrasted with a character representing a societal ideal that’s impossible to achieve. Such a character would breeze through life, everything coming easily to her/him/them.
This story would rather include a character facing struggles, while developing strength and lessons from struggles and failures:
The octopus swims away from the crowded sea floor, into a maze of rocks, gliding over and under, around them. Until the octopus finds the cave and enters its darkness. The sun’s rays diving into the water do not reach inside the cave. That’s preferable to the octopus. She needs a break from her parents nagging her to find a mate (“Please! We’d like grandchildren before we get too old and slow to play with them.”) and her friends, whose kidding around can sometimes get on her nerves. In the cave, the octopus dances. Her tentacles swirl and ripple in complicated patterns. Nobody can see her. She dances simply, for the joy of movement. A good way to let off steam and help ease her mind. However, she is wrong about nobody seeing her. Today, a lanternfish happens upon the cave. Seeing the octopus, the lanternfish turns off her green glow. The octopus is so involved in her dance that she doesn’t realize the presence of another creature. Until the octopus spins toward the cave’s opening. Immediately, she stops dancing. She says, “Why are you spying on me?” The lanternfish says, “I couldn’t help it. I came in here and saw you and I didn’t want to stop you. Please keep dancing.” The octopus says, “No. You’ll judge me.” The lanternfish says, “Too late. I already judged you. Your dancing is wonderful.” The octopus says, “You really mean that?” The lanternfish nods and says, “I’d like to see more.” The octopus says, “Promise you won’t make fun of me?” After the lanternfish promises that, the octopus says, “Will you tell the others?” The lanternfish says, “I won’t. Your secret is safe with me.” The octopus hesitates, weighs her options, then begins to dance again. The lanternfish turns on her green light, brightening the cave. The lanternfish joins in the dance, swimming over and under, around the swirling tentacles.
Hopefully, the reader would connect on some level with the character, to feel less alone in the world.
Which springs a kind of magic. The little drawings that we’ve come to the collective understanding that they represent letters. When grouped together, they form words. Strings of these words can inspire pictures in readers’ minds and inspire emotions in their hearts.
Such is the wish of this story. With every reader who happens upon it, the story knows it walks the delicate line between failure and success.
This year’s National Book Festival kicks off today!
The U.S.-based festival started back in 2001, formed by Laura Bush and the Library of Congress. It’s been running every year since.
When my daughters and I first went to the festival, it was held on the National Mall, during a weekend in early September. Tented pavilions held author talks for categories: fiction, poetry, history, science, etc. (The photo above is from that visit — I can’t remember what year.)
Afterwards, the festival moved inside, to the DC Convention Center and still took part on a full weekend. Then it was reduced to one day. Last year, the festival was just online. Author talks still happened, but with screens.
Through the various changes of the festival, my family has really enjoyed attending the festival. My daughters have festival posters — a new one each year — hanging on their bedroom walls. You can check out the poster gallery from all the festivals here — and you can download high-resolution PDFs of them.
A very big thank you to all the folks who put together the festivals. I’m always impressed by the organization of the rooms for author talks, lines for book signings, banners, and so on. I’m sure a lot goes into making the festival hum along.
This year, the festival’s theme is “Open a Book, Open the World.” And the festival happens over a whopping ten days. I don’t typically use “whopping” but it seemed appropriate. That’s a whole lotta love for books! YESSSSSSSSSS! That’s with ten S’s, so you don’t have to count them.
Video chats with authors are unleashed! — as of 10:00 ET. The list of those is here.
The authors participating in this year’s festival are listed here. On that page, you can click on an author’s name to jump to their page with a description of them, the title of their most recent work, and a link to their video conversation.
I’m planning to check out video chats with Silvia Moreno-Garcia, Martha Wells, LeVar Burton, Charles Yu, George Saunders, and Kazuo Ishiguro.
Also, as a kind of contribution to the celebration of books, I’ll be posting book quotes on Twitter throughout the ten days. If you’d like to see them each day, my Twitter name is @dwilliamswriter. I’ll probably also group the quotes and post them here on my blog — I might not have a schedule for those posts, though.
Happy reading, and I hope you enjoy the festival’s offerings!
A power of stories is their ability to transport readers to other places and times. Murakami does this very well for me — his stories are mesmerizing. And Kafka on the Shore is his latest book to have that effect on me.
An overview of the book …
At 15 years old, one of the main characters disguises his first name (to be called Kafka Tamura) and runs away from home. He wants to get away from his father and tries to escape the Oedipus Rex prophecy that his father put on him. Talk about a heavy burden to carry. Kafka wants to find his mother and sister, who left the family when Kafka was four.
Kafka’s chapters alternate with those of Satoru Nakata, who is quite an interesting character. During World War II, Nakata was in school when strange event happened. He and his schoolmates were hunting for mushrooms in the woods. All the kids lost consciousness and fell to the ground. However, the teacher was not affected. After the teacher ran to get help and returned to the kids, they started waking up. But not Nakata. He remained in a comatose state for a while. And when he eventually woke up, he could neither read nor write.
From that background, leap to the time of the book’s main action. Nakata is in his sixties and still can’t read or write. But he can talk to cats. Which helps him find lost cats for people in his neighborhood.
Back to Kafka Tamura: he journeys to the island of Shikoku, to the city of Takmatsu, where he finds a private library. He enjoys reading in the peaceful place and befriends the librarian Oshima. Miss Saeki runs the library and spends much of her time in her office. Miss Saeki also has an interesting background, which Oshima tells to Kafka.
Murakami’s stories typically contain oddities. In this book: fish and leeches fall from the sky … spirits appear in the form of Johnnie Walker and Colonel Sanders … soldiers from World War II haven’t aged … another world/alternate reality opens up.
Also, this book contains portions that may cause some to not pick up this book: incest by the main character, and another character eats still-beating hearts of cats. As for the second action, that character has a reason for doing it. Still, it’s a rough chapter. Murakami doesn’t gloss over gruesome parts.
Kafka on the Shore has many portions that are food for thought. The quote below is from Kafka’s alter ego (“the boy named Crow”), who gives advice to Kafka in the beginning of the book. I thought the message was moving. To me, the message is about growth after enduring a struggle — it’s when you are either forced out of a comfortable place or you choose to venture out of that comfort.
“Sometimes fate is like a small sandstorm that keeps changing directions. You change direction but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn’t something that blew in from far away, something that has nothing to do with you. This storm is you. Something inside of you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn’t get in, and walk through it, step by step. There’s no sun there, no moon, no direction, no sense of time. Just fine white sand swirling up into the sky like pulverized bones. That’s the kind of sandstorm you need to imagine.
And you really will have to make it through that violent, metaphysical, symbolic storm. No matter how metaphysical or symbolic it might be, make no mistake about it: it will cut through flesh like a thousand razor blades. People will bleed there, and you will bleed too. Hot, red blood. You’ll catch that blood in your hands, your own blood and the blood of others.
And once the storm is over you won’t remember how you made it through, how you managed to survive. You won’t even be sure, in fact, whether the storm is really over. But one thing is certain. When you come out of the storm you won’t be the same person who walked in. That’s what this storm’s all about.”
Quote from: Murakami, Haruki. Kafka on the Shore. Alfred A. Knopf. 2005. pp. 5-6.
If you like dystopian fiction, I highly recommend this novel.
The state of the union of America is chaos. Like Cormac McCarthy in The Road, Ms. Butler doesn’t dwell long on reasons why American society collapsed. Although, climate change and expanding wealth gap are mentioned here and there in this powerful novel. Unlike McCarthy’s novel, Parable of the Sower includes much information about the effects of that collapse.
Life is dangerous in unprotected places. People are apt to rob, kidnap, rape, and/or kill those who are seen as easy targets. When called, police might not show up. If they do, it could be the next day. You’ll need to pay a fee to the police for them to look into a crime. And there’s no guarantee they will follow through with an investigation.
The book’s main character, Lauren Olamina, lives in a walled community with her family—along with several neighbors—in a suburb of Los Angeles. Their life is safer than outside the wall, yet danger can arrive. Sometimes, thieves scale the wall and steal items the houses. And they steal vegetables from gardens and fruits from trees. In this future, food is scarce—unless you grow your own. Drinkable water is scarce, too.
Lauren’s father is a Baptist minister who who gives sermons in their house. And he teaches his children about guns and takes them for regular target practice. I mention this because of Lauren’s actions. She fires a gun several times in the hostile world to survive and protect people around her.
Also, Lauren develops her own religion: Earthseed. The overall book is comprised of Lauren’s journal entries. Before each chapter is an excerpt of the book within the book—Eathseed: The Books of the Living. One of those excerpts:
All that you touch You Change.
All that you Change Changes you.
The only lasting truth Is Change.
God Is Change.
— Octavia E. Butler, Parable of the Sower
Another of Lauren’s inheritances: “hyper-empathy” because her mother used a drug during pregnancy. With this condition, Lauren acutely feels pain and pleasure of other people.
Lauren Olamina makes for an intriguing main character. The book’s beginning has Lauren as a teenager and drama with her neighbors inside the walled community. Then Lauren takes a journey, and she navigates the lawless landscape of California.
This is a gripping book, for the wildness of its near-future world. The story begins in July 2024, a mere three years from when I’m writing this review. The world in the story is very different than now. Much of society has regressed: slavery, purchase of people, company towns. There’s a new drug called pyro, which makes people stare at fires in fascination, and addicts go on killing rampages.
Octavia Butler has crafted a scary world here. Yet there’s light. That’s a lot of weight on Lauren’s shoulders. Thankfully, she has strong shoulders.
This book works on different levels. Entertainingly so. First, what’s the origin of the book? In a statement from Langdon Pryce, he claims to have written the book. Then, in a statement from Nathan Allen, he acknowledges that Langdon Pryce created the manuscript — then exchanged it to settle a debt. Later, the (unnamed) person who had possession of the manuscript sold it to Nathan Allen, who cleaned up the story — which he says was a mess.
And that’s before you get to Chapter One.
The narrative starts there, as Riley Haig is strong-armed by his sister Shelley to go to the wedding of his other sister Izzy. Why strong-armed? Because Riley really doesn’t want to return to Krumbleton, the small town where he and those sisters grew up.
Many years have passed since Riley left Krumbleton, and his schoolmates from back then are amazed to see him back in town. Lots of catching up to do.
However, the day goes off the rails. This is a horror novel, after all — not a heartwarming Hallmark movie. Also, this is no “standard” horror novel. It walks into Scream territory by bringing up cliches of horror flicks. As the body count increases around Krumbleton, Riley tries to evade the killer — and he tries to puzzle out the identity of that killer.
A twist arrives that complicates the story. I’m not going to explain it, as I’d rather it be left as a surprise for potential readers. And there’s a fun (and funny) interlude in an elevator. Again, I won’t offer an explanation.
This book is an entertaining ride. There’s a story within it, but the book gives more. Different levels for greater complexity. I recommend this book if you’re open to reading something that’s left of center. Or is it right of center or above? Not sure. Anyway, I enjoyed it.
Sylvie’s parents said, “You should make a list of all the books you read this summer, so when school starts, you can see how many books you’ve read.” Sylvie thought that was a nice idea, but instead of writing a list of books (which sounded boring to her), she decided to stack the books she read.
While reading, Sylvie had adventures in fantasy lands, fought evil dragons, helped good dragons, soared in a hot air balloon to a tropical island, solved the mystery of a missing key, flew to a space station near Jupiter, went up secret stairs to a laboratory. She stacked book upon book upon book, making a tower in her bedroom. Books she had received as presents, books bought at bookstores and yard sales.
She climbed the stack, worried as it wobbled, and sat at the top to read each new book. She liked looking down at her bed and toys and chest of drawers, seeing them from a giant’s point of view.
At summer’s end, she didn’t bother counting the books in the stack, as she just liked looking at the tall tower and remembering the many adventures.