As many of you know by now, I am obsessed with reading the masters of scifi/fantasy novels. I am constantly looking for and building my library of those writers who not only can build worlds but write so well, so intentional that both are crucial threads to the story’s tapestry. So, a few weeks ago, I came across a facebook post I follow (Science Fiction/Fantasy Book Club) and it intrigued me. It was about Gene Wolfe’s The Book of The New Sun series (Shadow & Claw – a combination of the first two novels in the series). The reviewer explained in erudite fashion how the book was really quite brilliant… yes, hard to read, complicated, but stunning in its prose and world-building. Well, this is right down my alley… a must read! So, I went ahead and purchased the the tetralogy with eager anticipation. Before I read Wolfe’s prose, I researched him (Wikipedia is great for that), and found him to have had an impressive writing career filled with many works and many awards. When I received the book, I greedily read the introduction (love intro’s by famous writers… so cool and informative). Everyone said the same thing: brilliant, hard to read, highly erudite writer and master of world-building. Here is my review:
The Shadow of the Torturer has some excellent concepts and world-building – a future Urth where it would seem the world has risen and fallen and is trying to rise again… think middle ages (Manchester’s A World Lit Only by Fire) meets Asimov’s Foundation. So far so good. And what I really loved about this blended world was Wolfe’s slow reveal, the “I’m going to drop you into this world and you figure it out.” Great! Love this kind of book. Wolfe tells the tale in first person (cool idea… did it myself in IMAGO), from the apprentice torturer’s POV which tricks us and limits us in myriad ways. Man, figure out the world, figure out the character… all good so far. An older Severian (the POV character’s name) is writing about his childhood experiences and early years as he is trained to be an Executioner and then banished by the guild because of an action he has done. Book one and Two are his training, banishment, and subsequent journey across the lands on his way to the city of Thrax where he will take up his executioner role once again.
All well and good so far, but alas, the “difficulty” and “boring” labels from the Facebook reviewer, while not exactly explained, were actually to the point. The reviewer(s) understood the result, but did not understand the reasons why. Like all things in creative writing, it comes down to technical execution (pun intended). While the the world-building is very good (though Mieville and others do it better – more technically elaborate, well thought through scapes), it is the story construction and plot/characterization that really disappointed me. The “difficult” and “boring” labels are strictly due to technical flaws throughout the storytelling. Wolfe “Tells us” way too much. At times the dialogue is nonsensical and filled with RUE (resist the urge to explain). Too often someone will say, “Like I told you earlier…” then explain what they said a few pages ago. Or statements like, “Well, if you remember what the map said…” and then go in detail to explain what the map just said a few pages ago. Dialogue is informing us and the other character in the scene, and therefore, the illusion of the real evaporates. Yes, sometimes they are excellent, but that is rare. One only need read McCarthy’s The Road to see a masterclass on dialogue and scene. And on and on and on. The other big flaw (with the end result of difficulty/boring) is simply the tale unfolds with random, unconnected events that actually do not… nor need to… or cannot even if they want to… connect. This is the fatal flaw to me. Great writing is so controlled that it connects story arc and reveals/plot points that are integral. Before we write our novels, we copiously plot out every reveal, every characterization (sometimes in the moment… most times weeks of laborious effort). When really good writers take you off the main plot arc (a letter, a dream, a memory, flashback of any sort, etc…), it is intentional, and when you return to the main plot arc, the character, and the plot have developed, become more complex. These are a given with master storytellers. Just read Mieville or Gaiman, Le Guin, etc…. and you are stunned at how every tiny piece was dropped intentionally, every sidetrack was crucial, not random. When the protagonist remembered that past scene, it was a way to develop the forward story, complicate the character. Good stories demand everything from you. That’s what makes them difficult… and sometimes boring. They have been built by masters with toothpick thin intricacy. Or as Umberto Eco explained about great stories, you can peel the bark away from the fictional tree and find an entire ecosystem of discovery. The more you linger and observe, the more you receive. I get it. It’s hard to do. Many great writers can’t pull it off every time. But in order for a novel to be great, it needs to demonstrate some great craft.
While Wolfe hits high marks on world-building and concept, the writing and story control was somewhat disappointing. I have two more books in the series to read. My hopes are still high.
Greg Belliveau 