My first interview of 2019 is up: with Alexis M. Smith in Moss. It’s long and juicy and a firehose of opinion.
I’m curious about your aversion to “It Books” and whether you find literary-novels-of-the-moment depressing because they avoid the kind of tension and conflict we’re talking about here? Is that why they seem depressing? Because they don’t engage in the urgency of action and violence/vulnerability and fear?
They make me impatient because they don’t engage in anything meaningful in a wider context. The big wide world and the people in it matters. Really, who apart from you gives a shit about the ethics of you having an adulterous affair? Or your inner conflict over whether or not you should feel bad about not having a baby? Or whether your dinner party will turn out well enough to be discussed positively in your social circle? No one will die one way or another. The world won’t change. You probably won’t even lose your job or home. It feels pointless. That kind of insipidity makes me want to reach into the book to, say, the privileged, self-absorbed drugged-up deliberately somnambulistic protagonist, pour cold water on her as she wallows in her own high-thread-count existential misery, and yell, Grow the fuck up!
A lot of It novels are depressing. They’re depressing because they focus not on horror (or terror or lust or joy or hunger) but on angst, anxiety, and self-worthlessness. Anxiety and angst are not major, free-flowing emotions; they are a sign of internal dithering.
Think of a novel’s premise as an analogue of a self-defense situation. Fear sends a message as clear as a bell: This situation is dangerous; get out now! Anxiety is about second-guessing yourself: It’s not really dangerous, is it? Surely not. I know him; he’s my husband’s friend. I must be wrong… When a character is constantly in that self-questioning mode, it makes me as a reader impatient and irritated. Why don’t they believe themselves and just fucking get out?
There are all kinds of rants in there, as well as some serious stuff about Aud and Hild and what makes a novel good. But I admit, I like the unleashed stuff best.
We know so little of Hild’s time […] the role of women in the so-called Dark Ages could not remotely resemble the bullshit we’ve been fed in which we were merely rape toys and/or brood mares and/or warty old wise women of the wood. Because otherwise how could Hild—born the second daughter of a murdered father, with zero power and influence in the regime of petty warlords styling themselves kings of a feuding, bloody, aliterate, heathen culture—end up counselor to kings of proto-states with a literate, Christian bureaucracy; a teacher and leader of bishops; head of a religious foundation famous for its influence and hosting of the Synod which changed the course of British history; and still known fourteen hundred years (nearly a millennium and half!) later for her power, wisdom, and learning?
So if you fancy a diversion on this cold Monday here’s 5,000 words of unexpurgated book talk.