Mass-market Monday | J.G. Ballard’s The Drought

The Drought, 1965, J.G. Ballard. Triad Panther (1978). Cover illustration by Chris Foss (uncredited). 188 pages.


“The Draining Lake,”

being the first chapter of The Drought

aka The Burning World


At noon, when Dr. Charles Ransom moored his houseboat in the entrance to the river, he saw Quilter, the idiot-son of the old woman who lived in the ramshackle barge outside the yacht basin, standing on a spur of exposed rock on the opposite bank and smiling at the dead birds floating in the water below his feet. The reflection of his swollen head swam like a deformed nimbus among the limp plumage. The caking mudbank was speckled with pieces of paper and driftwood, and to Ransom the dreamfaced figure of Quilter resembled a demented faun strewing himself with leaves as he mourned for the lost spirit of the river.

Ransom secured the bow and stern lines to the jetty, deciding that the comparison was perhaps less than apt. Although Quilter spent as much time watching the river as Ransom or anyone else, his motives would be typically

perverse. The continued fall of the river, sustained through the spring and summer drought, gave him a kind of warped pleasure, even if he and his mother had been the first to suffer. Their derelict barge–an eccentric gift from

Quilter’s protector, Richard Foster Lomax, the architect who was Ransom’s neighbor–had now taken on a thirty-degree list, and a further fall of even a foot in the level of the water would split its hull like a desiccated pumpkin.

Shielding his eyes from the sunlight, Ransom surveyed the silent banks of the river as they wound westwards to the city of Mount Royal five miles away. He had spent the previous week alone on what was left of Lake Constant, sailing the houseboat among the draining creeks and mudflats as he waited for the evacuation of the city to end. After the closure of the hospital at Mount Royal he had intended to leave for the coast, but at the last moment decided to give himself a few final days on the lake before it vanished for good. Now and then, between the humps of damp mud, he had seen the distant span of the motorbridge across the river, the windows of thousands of cars and trucks flashing like jeweled lances as they set off along the coast road to the south.

Ransom postponed his return until all movement along the bridge had ended. By this time the lake, once a clear stretch of open water thirty miles in length, had subsided into a series of small pools and channels, separated by the banks of draining mud. A few last fishing craft sailed forlornly among them, their crews standing silently in the bows.

By contrast, something about the slow transformation exhilarated Ransom. Continue reading “Mass-market Monday | J.G. Ballard’s The Drought”

Two from the Dorothy Project | Brais Lamela’s What Remains + Denise Rose Hansen’s Blue Sunset (Books acquired, 16 Aug. 2027)

Two new titles this October from indie powerhouse DorothyWhat Remains by Brais Lamela (in translation by Jacob Rogers) and Denise Rose Hansen’s Blue Sunset.

Here’s Dorothy’s description of What Remains:

Shifting between the present and the archival past, New York City and the remote mountains of Negueira de Muñiz, What Remains follows a young scholar’s journey into a forgotten episode of the Franco regime, uncovering both the tragic history and the still-present afterlife of a forced resettlement project in the Galician countryside of the 1950s.

Like the hybrid works of Valeria Luiselli, Nathalie Léger, and Cristina Rivera Garza, Galician writer Brais Lamela’s prize-winning debut novel blends fiction, memoir, essay, and archival research to set history in conversation with contemporary reality. The result is a work of striking intimacy that explores, with subtle prose and arresting imagery, the complexity of modern migration and the legacy of twentieth-century colonization.

Dorothy compares Hansen’s Blue Sunset to Ann Quin; I’m there:

At a conference somewhere in Europe, Maja meets the Author. Haunted by a recent tragedy, she leaves with him unexpectedly to his home on the Italian coast, where she wanders into the rhythms of his life, observing the world through the lens of his days. Yet everywhere over their new and tender intimacy hangs the knowledge that soon she will have to return home to Copenhagen, site of her devastating loss. With echoes of Virginia Woolf and Ann Quin, Denise Rose Hansen paints with spare, deft lyricism the complicated landscape of grief and yearning that Maja crosses over on her journey toward something new.

Quick riff on Gene Wolfe’s The Fifth Head of Cerberus (Book acquired, 14 Aug. 2026)

I picked up a copy of Gene Wolfe’s 1972 novel The Fifth Head of Cerberus on Friday afternoon. I’d been hoping to find a more interesting-looking edition, but the Tor Essentials hardback with an introduction by Brian Evenson fit handsomely and handily in my hands, and I haven’t had any luck hunting old Wolfes lately. After reading and then rereading his wonderful 1975 novel Peace a week or so ago, I found myself wanting more of that weird flavor. And while Cerberus isn’t as masterful or achieved as Peace, it is similarly confounding, a puzzle that baits its reader via any number of rhetorical feints, traps, false doors.

I used the term novel above to describe The Fifth Head of Cerberus. I think that is the appropriate term, although cursory research will show you that the book comprises three novellas. I had known or understood this going into reading Cerberus, but somewhere I had read that the novellas worked together (intertextually? metatextually?) to cohere into a novelly-novel. I dutifully skipped Brian Evenson’s introduction — which I promise I will read when I begin re-reading Cerberus later tonight — and dug into the title tale on Friday night.

Like Peace, I think Cerberus is best experienced as raw as possible. The great pleasure of reading Wolfe is the disorientation; his narrators will deliver stacks of details at any time that may or may not be of the profoundest importance to the “truth” or “reality” of the narrative; meanwhile, the reader is trying to adjust to the strange (but not-that-strange) world Wolfe is conjuring in his prose. Is this here and now? The past or the future? Are we in alien lanes or human spaces? I think neatly summarizing the work denies a potential reader the pleasure (and challenge) of engaging with the work. To be clear, these novels (Peace and Cerberus) do not rely on gimmicky “spoilers” for their power, but rather work as strange metadetective narratives, where the reader plays the role of investigator.

But a reader will want something more concrete, eh, a little something beyond vague gesturing. Here are some elements that The Fifth Head of Cerberus engages with all three of its pieces: colonialism, cloning, slavery, patricide, twinning, mimesis, adaptation, immortality, vision questing, dream worlds, anthropology, espionage, crime, punishment. And precursor/postcursor texts: Crime and Punishment, Flannery O’Connor, Faulkner (especially As I Lay Dying and The Sound and the Fury), Le Guin’s Hainish novels, the Vietnam War, Jules Verne, Edgar Allan Poe, J.G. Ballard, The Vorrh, À la recherche du temps perdu, Nathaniel Hawthorne’s fables, Melville’s Benito Cereno (or Pierre or The Confidence Man), Conrad, Pale Fire, Borges (really any Borges, but like especially “Pierre Menard”), any number of “the accounts of the pith helmet and puttee expeditions of the Victorians” (as one of the narrators of the third piece of Cerberus, the key text V.R.T. puts it), Kavan’s Ice, Kafka of course, mythology (all), etc., etc., etc.

But perhaps just a few broad strokes to draw a potential reader in. The first and eponymous piece, The Fifth Head of Cerberus, offers what seems to be a boyhood memoir shaped by a sinister father and a colonial world. The second piece, “A Story,” by John V. Marsch, recasts (and simultaneously complicates and simplifies) that world in a primeval dreamworld vision quest. The novel coheres (this is not the correct verb) through its final, discursive, intertextual section, V.R.T., which both reveals and confounds the previous narratives. V.R.T. offers fragments — reports, lists, transcripts, notebooks, testimony — that reverberate and loop and replay the motifs and mysteries of the previous sections. The reader’s basic questions — who is this person? — is this a person? — collapse into a more unsettling one: who gets to authorize who someone is? Thus identity is never stable, but a production, narrated, copied, inherited, imposed, revised, never quite secured. More thoughts after a second visit.

No center | Joanna Russ

There used to be an odd, popular, and erroneous idea that the sun revolved around the earth.

This has been replaced by an even odder, equally popular, and equally erroneous idea that the earth goes around the sun.

In fact, the moon and the earth revolve around a common center, and this commonly-centered pair revolves with the sun around another common center, except that you must figure in all the solar planets here, so things get complicated. Then there is the motion of the solar system with regard to a great many other objects, e.g., the galaxy, and if at this point you ask what does the motion of the earth really look like from the center of the entire universe, say…the only answer is:

that it doesn’t.

Because there isn’t.

From How to Suppress Women’s Writing by Joanna Russ, 1983.

Read an excerpt of Ishmael Reed’s forthcoming novel, The Terrible Fives

Rex Stuart (T.2s) had made a pile as the star of the soap opera Sorrows and Trials. He’d set up his film company to cater to the streaming market. Right now, Afro-Futurism is hot. He asked his agents to name a Black writer who could write a series for his company. Secretariat’s name came up. Someone said he’d read his novel Yellow Back Radio Broke Down (1969), and it ended with AI running things. Before the end of the day, Secretariat received a call from Rex Stuart. He said that he had a proposition for Secretariat. It could be a rewarding trip for him to come to Los Angeles. Secretariat picked up his ticket at United. A limousine was waiting for him at LAX. He checked in at the Beverly Hills Hotel. This would be his third stay at the hotel. He remembered that his rooms had fireplaces. Stuart met him in the restaurant. He wasn’t the matinee idol who’d thrilled millions by portraying the polo-playing playboy of Sorrows. Jowly. A paunch. Otherwise, he’d aged gracefully. Something was different about him. He had a beard. Secretariat spotted him and joined him at his table. He had a copy of Yellow Back that he wanted Secretariat to sign.

“Interesting work. I can see why the critics call you Sun Ra and George Clinton, Afro-Futurism’s fathers. Artificial intelligence is running things, leading to the elimination of 9-to-5 drudgery. You had that in your novel that was published in 1969.”

Yes, Secretariat thought, that was before my idealism went sour.

Stuart then said, “Well, it’s upon us. This Afro-Futurist stuff is trending. What do you think of it?”

Secretariat saw it as another academic scam—an excuse for professors to lure students into empty classrooms by offering something snappy to those who grew up on Star Wars. They could write long papers with the usual obscure references. Professors could attend conferences, sample good food, sightsee, and make dates.

“It’s popular, but the Afro-Futurists are missing an opportunity,” Secretariat said.

“How is that?”

“They could use the popularity of space-travel films and art to introduce Black and Brown kids to sciences like astrophysics. After a Black astrophysicist lectured, he was surrounded by Black and Brown kids. They hadn’t been taught that such a field was open to them. They were told that the football field, the basketball court, and the criminal court were the only areas open to them.”

Stuart gave Secretariat an odd look. “Something to think about. I don’t know whether you have seen—” Stuart mentioned a spate of films that carried the Afro-Futurist label. “We’d like you to try your hand at writing one for us.” Stuart mentioned an amount of money that would pay his family’s bills for a couple of years. All Secretariat had to do was write a treatment. Others would develop the story; he could withdraw his name from the production if he didn’t like the result.

Their drinks arrived, followed by a gorgeous meal. The next morning, he returned to Oakland.

Read the full excerpt from Ishmael Reed’s forthcoming novel The Terrible Fives at the Evergreen Review.

Mass-market Monday | Berton Roueché’s Eleven Blue Men

Eleven Blue Men, Berton Roueché, 1953. Berkley Medallion Books (1968). No cover artist or designer credited. 191 pages.

Simulated stag | From Gene Wolfe’s novel Peace

And so will I search now for my knife, thus getting the exercise Dr. Van Ness prescribes. It was large, and stamped with the words “Boy Scout.” The scales were of simulated black staghorn, bringing to mind (at least to mine) the image of a simulated stag, his horns held proudly as those of any elm-deer, ranging the forest among the now-waking trees, trees whose leaves are dying with the summer in every color, like bruises, but bruises beautiful as the skins of races unborn, withheld from us because God, or destiny, or the bland chance of the scientists (whose blind, piping ape-god, idiot-god, we have met before; we know you, troubler of Babylon) has denied us the sight of all these scarlet and yellow—truly red, orange, russet-brown—races on our sidewalks, and all the wonderful richness of stereotypes we might have entertained ourselves with if only they had been permitted us: the scarlet people with tight fists and loose women, gobbling dialects, a talent for paintings done with chalk upon the sides of newspaper kiosks, and high abilities in the retail merchandising of hobby supplies such as tiny-toy jet engines, and model garbage trucks whose hungry rumps, trundled about the wooden tops of retired dining-room tables in basements, will devour the dross of train-station quick-eat restaurants; the orange people with their weird religion demanding the worship of sundials (as our own seems to others that of telephone poles), so that in friendly locker-room conversations, when we have at last and at the threat of certain legal pressures admitted them to Pinelawn and are discussing the round now past, they out with strange oaths. What is a wabe?

And all of them, since all the lands of this earth are occupied, must be from strange and farther countries, from Hi Brasil and the Islands of the Sun, from the Continental Islands and the Isles of the Tethys Sea. Only the rarest, the russet browns, belong here, native to St. Brendan’s land, and they are dying; the things they are famous for are not strange oaths, or ability at any art, or cunning in a trade, but alcoholism and gonorrhea and dwindling. They make good soldiers and that is fatal, just as is the bravery of the simulated stag, which will bring him to death, answering the call of the simulated war cry to meet bullets in the dry autumn woods and fall, his lungs hemorrhaging substitute blood at the edge of the potato fields. The imitation huntsman shouts and dances for joy, and then, having learned very well to shoot, but never to butcher, and being, in his own opinion, no longer of an age to carry heavy burdens, leaves him to rot and stink, the bait of plastic flies with fishhooks in their bellies. In time his flesh, torn by such fur-like foxes as remain, and by the teeth of curs, falls away, and only his horns and his celluloid bones remain, the prey of the boys’-knife maker.

A passage from Gene Wolfe’s 1975 novel Peace.

Mass-market Monday | Gene Wolfe’s Peace

Peace, Gene Wolfe, 1975. Berkley Books  (1982). No cover artist or designer credited. 246 pages.

The uncredited cover artist is obviously and well-documentedly Gahan Wilson.

Maybe a hundred pages into Gene Wolfe’s 1975 novel Peace it struck me that this book is, like, an American post-modernist classic that we would now talk about alongside novels of writers like Pynchon, Barth, Reed, Coover, Barthelme, etc., if the Publishing Industry and Academia didn’t have hangups about sci-fi and fantasy. And the novel is only sci-fi or fantasy in the sense that, like, Gravity’s Rainbow is sci-fi fantasy or Pricksongs & Descants is sci-fi fantasy or Chimera is sci-fi fantasy. Anyway.

I “finished” Peace like an hour ago and I am going to reread it this week. The final chapter made some baffling moves; I realized that I missed a lot (not unlike my reading experience with Wolfe’s baroque postmodern fantasy epic The Book of the New Sun). Wolfe has a big bag of tricks in Peace; this is a haunted house, haunted by Sheherazade and her matryoshka dolls. The novel is larded with stories that loop and decay and engender new stories, moments of strange beauty and death and life; consider the narrator Den Weer, on the second page, describing roses who, “like mothers holding up their dead infants” show “the softly rotten shoots they put forth in the last warm weather of fall.” This is a novel about extinction.

I hope I manage more thoughts after a reread. For now, an incomplete list of books that I connected to Peace, as vibe or I do not know what:

Carpenter’s Gothic, William Gaddis

Benito Cereno, Herman Melville

Dhalgren, Samuel R. Delany

Gravity’s Rainbow, Thomas Pynchon

The House of Seven Gables, Nathaniel Hawthorne

Wide Sargasso Sea, Jean Rhys

As I Lay Dying, William Faulkner

A Canticle for Leibowitz, Walter M. Miller Jr.

Chimera, John Barth

It happened that the ship, gaining her port, was moored to the dock on a Fourth of July | From Herman Melville’s Israel Potter

It happened that the ship, gaining her port, was moored to the dock on a Fourth of July; and half an hour after landing, hustled by the riotous crowd near Faneuil Hall, the old man narrowly escaped being run over by a patriotic triumphal car in the procession, flying a broidered banner, inscribed with gilt letters:

“BUNKER-HILL
1775.
GLORY TO THE HEROES THAT FOUGHT!”

It was on Copps’ Hill, within the city bounds, one of the enemy’s positions during the fight, that our wanderer found his best repose that day. Sitting down here on a mound in the graveyard, he looked off across Charles River towards the battle-ground, whose incipient monument, at that period, was hard to see, as a struggling sprig of corn in a chilly spring. Upon those heights, fifty years before, his now feeble hands had wielded both ends of the musket. There too he had received that slit upon the chest, which afterwards, in the affair with the Serapis, being traversed by a cutlass wound, made him now the bescarred bearer of a cross.

For a long time he sat mute, gazing blankly about him. The sultry July day was waning. His son sought to cheer him a little ere rising to return to the lodging for the present assigned them by the ship-captain. “Nay,” replied the old man, “I shall get no fitter rest than here by the mounds.”

But from this true “Potter’s Field,” the boy at length drew him away; and encouraged next morning by a voluntary purse made up among the reassembled passengers, father and son started by stage for the country of the Housatonie. But the exile’s presence in these old mountain townships proved less a return than a resurrection. At first, none knew him, nor could recall having heard of him. Ere long it was found, that more than thirty years previous, the last known survivor of his family in that region, a bachelor, following the example of three-fourths of his neighbors, had sold out and removed to a distant country in the west; where exactly, none could say.

He sought to get a glimpse of his father’s homestead. But it had been burnt down long ago. Accompanied by his son, dim-eyed and dim-hearted, he next went to find the site. But the roads had years before been changed. The old road was now browsed over by sheep; the new one ran straight through what had formerly been orchards. But new orchards, planted from other suckers, and in time grafted, throve on sunny slopes near by, where blackberries had once been picked by the bushel. At length he came to a field waving with buckwheat. It seemed one of those fields which himself had often reaped. But it turned out, upon inquiry, that but three summers since a walnut grove had stood there. Then he vaguely remembered that his father had sometimes talked of planting such a grove, to defend the neighboring fields against the cold north wind; yet where precisely that grove was to have been, his shattered mind could not recall. But it seemed not unlikely that during his long exile, the walnut grove had been planted and harvested, as well as the annual crops preceding and succeeding it, on the very same soil.

Ere long, on the mountain side, he passed into an ancient natural wood, which seemed some way familiar, and midway in it, paused to contemplate a strange, mouldy pile, resting at one end against a sturdy beech. Though wherever touched by his staff, however lightly, this pile would crumble, yet here and there, even in powder, it preserved the exact look, each irregularly defined line, of what it had originally been—namely, a half-cord of stout hemlock (one of the woods least affected by exposure to the air), in a foregoing generation chopped and stacked up on the spot, against sledging-time, but, as sometimes happens in such cases, by subsequent oversight, abandoned to oblivious decay—type now, as it stood there, of forever arrested intentions, and a long life still rotting in early mishap.

“Do I dream?” mused the bewildered old man, “or what is this vision that comes to me of a cold, cloudy morning, long, long ago, and I heaving yon elbowed log against the beech, then a sapling? Nay, nay, I cannot be so old.”

“Come away, father, from this dismal, damp wood,” said his son, and led him forth.

Blindly ranging to and fro, they next saw a man ploughing. Advancing slowly, the wanderer met him by a little heap of ruinous burnt masonry, like a tumbled chimney, what seemed the jams of the fire- place, now aridly stuck over here and there, with thin, clinging, round, prohibitory mosses, like executors’ wafers. Just as the oxen were bid stand, the stranger’s plough was hitched over sideways, by sudden contact with some sunken stone at the ruin’s base.

“There, this is the twentieth year my plough has struck this old hearthstone. Ah, old man,—sultry day, this.”

“Whose house stood here, friend?” said the wanderer, touching the half-buried hearth with his staff, where a fresh furrow overlapped it.

“Don’t know; forget the name; gone West, though, I believe. You know ’em?”

But the wanderer made no response; his eye was now fixed on a curious natural bend or wave in one of the bemossed stone jambs.

“What are you looking at so, father?”

“‘Father!’ Here,” raking with his staff, “my father would sit, and here, my mother, and here I, little infant, would totter between, even as now, once again, on the very same spot, but in the unroofed air, I do. The ends meet. Plough away, friend.”

Best followed now is this life, by hurrying, like itself, to a close.

Few things remain.

He was repulsed in efforts after a pension by certain caprices of law. His scars proved his only medals. He dictated a little book, the record of his fortunes. But long ago it faded out of print—himself out of being—his name out of memory. He died the same day that the oldest oak on his native hills was blown down.

From Herman Melville’s novel Israel Potter: His Fifty Years of Exile

“…the amazing, world-reversing night of Fourth of July Eve 1899″ (Pynchon’s Against the Day)

For years after, there were tales told in Colorado of the amazing, world-reversing night of Fourth of July Eve 1899. Next day’d be full of rodeos, marching bands, and dynamite explosions—but that night there was man-made lightning, horses gone crazy for miles out into the prairie, electricity flooding up through the iron of their shoes, shoes that when they finally came off and got saved to use for cowboy quoits, including important picnic tourneys from Fruita to Cheyenne Wells, why they would fly directly and stick on to the spike in the ground, or to anything else nearby made of iron or steel, that’s when they weren’t collecting souvenirs on their way through the air—gunmen’s guns came right up out of their holsters and buck knives out from under pants legs, keys to traveling ladies’ hotel rooms and office safes, miners’ tags, fencenails, hairpins, all seeking the magnetic memory of that long-ago visit. Veterans of the Rebellion fixing to march in parades were unable to get to sleep, metallic elements had so got to humming through their bloodmaps. Children who drank the milk from the dairy cows who grazed nearby were found leaning against telegraph poles listening to the traffic speeding by through the wires above their heads, or going off to work in stockbrokers’ offices where, unsymmetrically intimate with the daily flow of prices, they were able to amass fortunes before anyone noticed. .

A passage from Thomas Pynchon’s novel Against the Day.

Mass-market Monday | Eye of the Heart: Short Stories from Latin America

Eye of the Heart: Short Stories from Latin America, ed. by Barbara Howes, 1973. Avon-Bard (1974). No cover artist or designer credited. 576 pages.

A promising mixtape, via many translators. Clarice Lispector might not have been a big enough name for English-reading audiences in the 1970s to make the front or back cover, but editor Barbara Howes included two of her stories.

Here is a piece (the shortest) from the collection:


“Why Reeds Are Hollow”

by

Gabriela Mistral

Translated by William Jay Smith


For don Max. Salas Marchant

I

Even in the peaceful world of plants, a social revolution once took place. It is told that in this case the leaders were those vain reeds. A master of rebellion, the wind, disseminated propaganda, and in no time at all there was talk of nothing else in the vegetal centers. Virgin forests fraternized with silly gardens, in a common struggle for equality.

Equality of what? Of their thickness of trunk, the excellence of their fruit, their right to pure water?

No, simply equality of height. The ideal was that all should raise their heads uniformly. The corn had no thought of making itself strong like the oak, but only of stirring its hairy tassels at the same elevation. The rose did not strive to be useful like the rubber plant, but just wanted to reach that high crown, and make of it a pillow on which to lull its flowers to sleep.

Vanity, vanity! Delusions of grandeur, even if they went against Nature, caricatured their aims. In vain, some modest flowers—the shy violet and flat-nosed lily—spoke of divine law and the evils of pride. Their voices seemed dotty.

An old poet, bearded like the River God, condemned the project in the name of beauty, and had some wise things to say about uniformity, hateful to him in every respect.

II

How did it all turn out? People tell of strange influences at work. Earth spirits blew upon the plants with their monstrous vitality, and so it was that an ugly miracle took place.

One night, the world of lawn and shrub grew dozens of feet, as if obeying some imperious appeal from the stars.

Next day, the country people were dismayed—when they came out of their huts—to find clover high as a cathedral and wheat fields wild with gold!

It was maddening. Animals roared with fright, lost in the darkness of their pastures. Birds chirped in desperation, their nests having risen to unheard-of heights. Nor could they fly down in search of seed: gone was the sunbathed soil, the grass’s humble tapestry.

Shepherds lingered by their flocks beside dark pastures; their sheep refused to enter anything so dense, afraid they might be swallowed up completely.

Meanwhile, victorious, the reeds laughed aloud, whipping their riotous leaves against the blue tops of the eucalyptus.

III

Thus a month is said to have passed. Then the decline set in.

And it came about in this fashion: violets, which delight in shade, dried up when their purple heads were exposed to full sunlight.

“It doesn’t matter,” the reeds hastened to say. “They’re a mere nothing.”

(But in the country of the spirits, they were mourned.)

Lilies, stretching their height to fifty feet, broke in two. Like the heads of queens, white marble heads lay lopped off all around.

The reeds argued as before. (But the Graces ran wild through the wood, lamenting.)

Lemon trees at that height lost all their blossoms to the violent winds. Adios, harvest!

“It doesn’t matter,” the reeds stated yet again. “Their fruit was so bitter.”

The clover dried out, its stems twisting like threads in a fire.

Corn tassels drooped, but no longer from gentle lassitude. In all their extravagant length they fell upon the earth, heavy as rails.

Potatoes, to strengthen their stems, put forth feeble tubers; these were little bigger than apple seeds.

Now the reeds laughed no more; at last they grew serious.

Blossoms of shrub or grass were no longer being fertilized: the insects could not reach them without overheating their little wings.

Furthermore, it was said that man had neither bread nor fruit nor forage for his animals; hunger and sorrow were abroad in the land.

In such a state of things, only the tall trees remained sound, trunks rising strongly as ever: they had not yielded to temptation.

The reeds were the last to fall, signaling the total disaster of their tree-level theory; roots rotted from excessive humidity, and even the network of foliage could not keep them from drying out.

It was then clear that, compared with their former solid bulk, they’d become hollow. They reached hungry leagues upward, but, their insides being empty, they were laughable, like marionettes or dolls.

In the face of such evidence, no one could defend their philosophy; no more was said about it for thousands of years.

Nature—generous always—repaired the damage in six months, seeing to it that all wild plants would again spring up in the usual way.

The poet, bearded like the River God, appeared after a long absence and, rejoicing, sang of the new era.

“So be it, dear people. Beautiful is the violet for its minuteness, and the lemon tree for its gentle shape. Beautiful are all things as God made them: the noble oak and the brittle barley.”

The earth bore fruit once again; flocks fattened, the people were nourished.

But the reeds—those rebel chieftains—bore for all time the mark of their disgrace: they were hollow, hollow . . .

 

Conversations with Don DeLillo and Other Conversations by Drew Lerman (Book acquired, 3 June 2026)

I’m a big fan of Drew Lerman’s work, and I’m always excited when he puts together a new collection. His latest is Conversations with Don DeLillo and Other Conversations, collecting his recent strips. I would describe these strips as functioning in the mode of pseudoautiobiographical postmodern literary interrogation, only that makes them sound pretentious, which they aren’t. They are very funny and very niche, and I often feel like I am Lerman’s ideal reader. This is my niche.

Each one-page strip features (a version of) Lerman encountering (and often trailing) a writer (DeLillo, obv., but also Joy Williams, Jonathan Franzen, Gordon Lish, William T. Vollmann…); the conversations are often very one-sided and allow Lerman to interrogate his subject on the kind of minutiae that often overtakes our ability to see the forest for the trees, so to speak, when it comes to art. In one of my favorite bits, for example, Lerman critiques the implementation of (“middle school book report-ass”) Courier New Unjustified as the font for DeLillo’s novel The Silence. I could go on but I should save it for a proper review.

Conversations with Don DeLillo also features a great negative blurb by a certain grouchy “Myron Circle”:

And maybe this is corny of me, but I love that Lerman used Chris Ware stamps to mail me Conversations with Don DeLillo. (Chris Ware shows up in Conversations, btw — he tries to give Lerman a bunch of his books and tell Lerman how much he loves Snake Creek

More thoughts to come.

RIP Marjane Satrapi

RIP Marjane Satrapi, 19-2026

I was saddened to learn today of the death of the artist Marjane Satrapi. Satrapi was only 56.

Satrapi is probably most recognized for her first published work, Persepolis, a graphic novel she completed in 2003. Persepolis was one of the first books I wrote about on Biblioklept, way back in 2007, when this blog was not half a year old. Here is the entire post:

“It was funny to see how Marx and God looked like each other.”

Marjane Satrapi’s Persepolis makes a nice introduction to the graphic novel autobiography for anyone who hasn’t read one before. Marjane’s memoir weaves the political turmoil of the Islamic Revolution with the everyday stuff of childhood experience. As the the repressive Islamic regime revokes liberal freedoms, Marjane’s folks (secular intellectuals, of course) smuggle Iron Maiden posters back from Turkey; young Marjane sneaks cigarettes and rock music to a backdrop of political assassinations and war with Iraq.

Persepolis succeeds by engaging the reader in a personal experience of revolution and cultural alienation. It works as a history lesson and as a coming of age story. Readers who try something different (maybe suspend some prejudices?) will be rewarded with an enriched perspective on a political/cultural upheaval still affecting global politics today.

I wrote that twenty years ago, and there are any number of things I could pick at, I think my defensive tone is the most interesting to me. I think that general audiences have come to understand that comics, just like any other medium, can express the highest ideals of art. Persepolis, now a staple on many school reading lists, contributed to that cultural shift.

I looked around for my copy, but then realized that my daughter took Persepolis with her when she left for college last year. I remember reading the book to her when she was little; later she read it herself. We repeated the process with our son. And then we watched Satrapi’s 2007 film adaptation together a few times.

We also watched her film adaptation of her graphic novel Chicken with Plums. The film is good, but the book is better. My 2009 review of the paperback edition again highlighted an anxiety that mainstream audiences held prejudices against the comics medium:

Casual readers to comics often make the error of supposing that the medium is merely words with accompanying pictures. Satrapi’s deft work here might do wonders in correcting this ignorance. There isn’t a wasted panel in Chicken with Plums, and Satrapi commands intense emotion from her thick, black lines. There’s a seamless quality to Chicken with Plums; the text and the pictures, indivisible, add up to more than the sum of their parts. Satrapi knows when to hold back and let her simple black and white images tell the story. There is a certain economy of storytelling that great comic writers can achieve in ways entirely possible in prose, and here Satrapi has surpassed her earlier work in Persepolis, which, while great, often relied heavily on textual exposition. In Chicken with Plums, Satrapi’s evocations of troubled family life, unfulfilled love, the perils of Iranian immigration to California, and Sufi mysticism all blend into a poignant, often-funny, and occasionally devastating portrait that exemplifies the best of the comics medium.

While comparisons to her Persepolis series will undoubtedly hang over all of Satrapi’s work, Chicken with Plums is a wonderful successor, and in some senses, a more achieved work. Although it doesn’t convey the first-person immediacy of Persepolis, nor that memoir’s dramatic scope, the story of Nasser Ali is intimately detailed and achieves something rare in an age of overstuffed books: it leaves its readers hungry for more.

The plot of Chicken with Plums is devastatingly simple. Nasser Ali, a renowned Iranian musician (and Satrapi’s great uncle), elects to die after his wife destroys his beloved instrument. He quits eating and refuses to leave his bedroom. The story is very much an extrapolation of hazy events revealed in dreams and flashbacks, with a tint of magical realism.

I was a bit taken aback, given the plot of Chicken with Plums, while reading the following detail from Satrapi’s obituary in Le Monde today. The French newspaper reported that those close to the artist declared that, “Marjane Satrapi died of sadness a little over a year after the death of Mattias Ripa, her husband and the love of her life.” How very sad. I hope she has found some peace.

Question | From John A. Williams’ novel The Man Who Cried I Am

Nine million, n-­i-­n-­e million. Ah, the world got what it deserved. The lessons had been written on the board in big letters thousands of years ago and repeated several times every century since.

Question: How many men can I kill if I dig out the Suez Canal?

Question: How many men can I kill if I build myself a Great Pyramid?

Question: How many men, women and children can we kill if we retake the Holy Land from the heathens? (We’ll call it a Crusade.)

Question: How many men, women and children can we kill if we establish a slave trade between Africa and the New World?

Question: How many men can we kill to make the world safe for democracy?

Question: How many men can we kill to make the world safe for communism?

Answer: Hundreds, thousands, millions, billions.

And then, we’ll start all over again.

From John A. Williams’ 1967 novel The Man Who Cried I Am.

Mass-market Monday | Claude McKay’s Home to Harlem

Home to Harlem, Claude McKay, 1928. Pocket Cardinal Editions (1956). No cover artist or designer credited. 180 pages.

The cover art, while unattributed inside the book, is likely the work of Isadore Seltzer. McKay’s first novel is now in the public domain and available online.

Sunday Comix

A page by Charles Burns from BLAB! no. 2, Summer 1987, Monte Comix Productions.

“This demon is capitalism. Special Ability: Ravenous hunger” | On Thomas Kendall’s cybernoir novel How I Killed the Universal Man

Thomas Kendall’s How I Killed the Universal Man is a near-future sci-fi novel working squarely in the cybernoir tradition of Philip K. Dick and William Gibson. Like Gibson, Kendall constructs a world where corporate systems saturate daily life and set the limits of perception. Like PKD, Kendall foregrounds reality’s instability, where what is seen, felt, and remembered can’t be trusted as one’s own. Kendall reworks the cybernoir lineage through a critique of media culture and wellness technology, showing how late-capitalist systems present themselves as therapeutic while covertly expanding their nefarious authority. 

Our hero John Lakerman is a journalist for donkeyWolf, a “self-consciously edgy multi-social new(s) presence with a polyamorous approach to truth and ethics” that profits from “Attention Disordering Content.” From the outset, Lakerman understands himself less as an agent than as a conduit. He describes himself as “merely language, an impoverished language uninhabited by being,” and just “a data leak.” This diminished sense of self becomes explicit in one of the novel’s most telling admissions: “He had always wanted to be a robot…He’d always wanted to be a machine.” Lakerman’s desire isn’t so much a nihilist fantasy as it is an adaptive response to a world that already treats him as a tool, mere equipment.

Lakerman is sent to Miami to investigate Noumenon, a designer drug whose name strikes him as empty philosophical branding, “self-consciously clever and a total misunderstanding of the concept.” It’s a gonzo gig: he’ll take the drug himself and “report back from the other side of its meaning.” Under the supervision of Dr. Andrea Christoff at Lifepax (“here to carry you when nature can’t”), he enters a controlled Noumenon trial before exploring the Miami club circuit, where the drug circulates freely.

Crossing (literally) the threshold, Lakerman reads “cryptic messages” in the movement of club-goers’ bodies: “What they might see meant everything. What they could see was possibility. What they would see was another matter.” Capital, via biotech, mediates, manages, and tiers perception, parceled in preset doses. Kendall’s hyperheated dystopian Miami, a landscape of “block-shaped universes” and horizons “constructed by deprivation,” gives that logic spatial form. Space is segmented, experience preformatted, and Lakerman’s role as “reporter” starts to look like another interface the system ventriloquizes.

Lakerman leaves Miami, but the cityscape’s stratified logic stays with him. Back in London, news of a mass-shooting in Miami finds its way into his feed, and the “quaintness of a non-global catastrophe” showing up there strikes the jaded Lakerman as unusual. A too-specific detail from the report finds him returning to his last story on Noumenon, and his investigation widens into a corporate network linking Lifepax to the now-defunct Phenom Games. What began as a gonzo drug story becomes an inquiry into how experience itself is engineered, circulated, and monetized.

Lakerman’s investigation leads him to UbIQ, a biotech platform offering implants framed as “an advanced biometrics wellness program and early health warning system.” The smooth clinical reassurance of corporate jargon masks UbIQ’s reality as a tool of continuous emotional surveillance: “It registers how much you cry, when you cry, and at what.” As Lakerman encounters UbIQ (the name a loud, clear echo of PKD’s 1969 novel Ubik), the ground of proof gives way beneath him. Official records deny what he remembers, corroborating traces disappear, and even his own logs refuse to stabilize events into something demonstrably real.

He keeps investigating though, and the novel shifts to question not simply what Lakerman can know, but what kind of system makes knowing structurally dependent on corporate infrastructures and then repackages that dependence as “care.” Kendall distills this systemic condition, the internalization of capitalist infrastructure as perception, feeling, and “wellness,” into a blunt image of saturation: “Like plastic in fish, the way everything has a little capitalism mixed in.” Control arrives as smart drugs, implants framed as therapy, games that train attention and identity. It surrounds the self and takes up residence inside it.

A Boschian mural on the side of a church (titled a bit-on-the-nosedly Allegorical Futures) states the book’s critique outright: “This demon is capitalism. Special Ability: Ravenous hunger.” The mural is signed T.OR who Kendall later links to the game-world Lakerman is pulled toward. The mural names the engine; the game teaches how to live with it: “HIKTUM is a game that teaches you how to be multiple.” That “multiplicity” isn’t Whitman’s multitudinous freedom but training: become flexible, divisible, easier to manage. The endpoint is the Universal Man, “a thing [that] cannot be rendered but can be leased.” The novel’s late refrain “Nobody survives love” marks the cost of a world where even intimacy is folded into the logic of extraction.

Lakerman’s trajectory isn’t a personal tragedy so much as a case study in a world where media platforms, pharmaceuticals, and “wellness” tech jointly manage what can be felt, remembered, and proved — and where that management manufactures people who want to be managed. Kendall leaves Lakerman’s final position unresolved, but the arc is clear. The wish to become a machine (seamless, efficient, immune) collapses into submission to the systems already in place. In HIKTUM, control isn’t the existential threat of abstract violence, but rather what we feed to our heads and bodies. The diagnosis is that we don’t experience these systems as coercion. We submit to them as upgrades.

Readers drawn to cybernoir’s paranoiac pressures will get a kick out of Kendall’s transhumanist noir, which I’ve failed to describe the weirdness of here. How I Killed the Universal Man also makes a strong case for seeking out Whiskey Tit, an independent press committed to weirdness. Check it out.