As I'm sure is true of everyone posting on the forum, lots I could recommend, but not too many I've reviewed (would have to re-read to do justice to old faves
). Been trying to remember to do so more recently (when I get to do some non-academic reading, that is), so I can stick a few up here:
Titus Groan -
Mervyn PeakeThis classic of the 1940s deserves the name, mainly due to the expert command of language (for example, ?his flat feet sucking at the stones like porridge?) possessed by Mervyn Peake. He also has a talent for the Dickensian; names like ?Steerpike?, ?Swelter?, ?Prunesquallor? and ?Sourdust? would have sat happily in
Bleak House or
Great Expectations. Similarly, Peake leans towards a fantastical description of these characters, though still in a ?realistic? style; there are no orcs or elves to be found here. The central problem with the book is what Anthony Burgess (quoting an opening passage from the book) its ?ponderous architecture?. Certain sections become extended and tedious ? though Peake is to be applauded for his attempts at Joycean experimentation in the ?reveries? - with the irrelevant and irritating inclusion of bland poetry, in a manner reminiscent of Tolkien?s equally annoying habit exemplified by such damp squibs as Tom Bombadil. Nevertheless, with a bit of digging, there is plenty to savour in this novel; I get the impression it is one of those books which would profit from multiple readings, and perhaps be all the more treasured for the struggle.
The Shadow of the Torturer -
Gene WolfeFrom what I've read so far of 'The Book of the New Sun' tetralogy (i.e., the first two), Wolfe deserves at least a part of his considerable acclaim. He expertly lays out his rather gothic, intricately detailed scenes, and proceeds to fill them with a satisfyingly varied host of characters. Some of these characters will only appear in a single chapter or two, but Wolfe is always careful to clearly delineate each creation, pumping them full of personality and luscious description that fills the words with vivid physicality. The plot can occasionally appear a bit unconnected, and Wolfe is prone to philosophical flights of fancy that don't always fit with the picture of the character he has built up, but any failings are more than made up for atmospherically. It is in this that Wolfe excels - his world is immersive, outlandish, but consistently engaging. He is also highly inventive, producing streams of neologisms as well as reviving medieval terminology (e.g., 'leman', 'destrier'), which provides a certain degree of archaic authenticity to Wolfe's world of Urth. As this is also intended to be Earth, but a million years in the future, that authenticity is especially well applied. My one problem with the book, thus far, is that he is somewhat conventional in his treatment of women, in that he tends to use them to decorate his text rather than engage fully into an investigation of gender issues. The female characters are invariably attractive, and almost always attracted to his main character, Severian. Still, this one chauvinistic failing aside,
The Shadow of the Torturer is a rewarding piece of fiction.
The Claw of the Conciliator -
Gene WolfeThis second volume in the tetralogy has many of the strengths of its predecessor, but also some weaknesses. In particular, the chapters in which Wolfe attempts stylistic and structural innovation, such as his play and 'extract', fall short of his usual writing. Of course, that still means falling short of a very high standard, so while these sections are less enjoyable than others, they still manage to expand Wolfe's 'New Sun' mythos. The narrative also continues the occasionally disconnected sensation prevalent in the first, which is a part of Wolfe's style, albeit one which can be confusing when the jump-cuts follow in quick succession. This is noticeable at the beginning of the novel, where it takes a while to establish a connection with the end of Wolfe's previous work,
The Shadow of the Torturer. One point of special interest is Wolfe's greater emphasis on science fiction elements, though these are cleverly interwoven with the fantasy milieu in a way that doesn't jar. Hence the reason these books are categorised as science fantasy rather than either one or the other genre.
