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The Eeriness of the English Countryside

A-Field-in-England-009
A Field In England

Robert Macfarlane, whose new book Landmarks was published in the UK last month, has a fascinating essay in The Guardian on the writer M. R. James, and the eerie horror of the English countryside:

We do not seem able to leave MR James (1862–1936) behind. His stories, like the restless dead that haunt them, keep returning to us: re-adapted, reread, freshly frightening for each new era. One reason for this is his mastery of the eerie: that form of fear that is felt first as unease, then as dread, and which is incited by glimpses and tremors rather than outright attack. Horror specialises in confrontation and aggression; the eerie in intimation and aggregation. Its physical consequences tend to be gradual and compound: swarming in the stomach’s pit, the tell-tale prickle of the skin… James stays with us is his understanding of landscape – and especially the English landscape – as constituted by uncanny forces, part-buried sufferings and contested ownerships. Landscape, in James, is never a smooth surface or simple stage-set, there to offer picturesque consolations. Rather it is a realm that snags, bites and troubles. He repeatedly invokes the pastoral – that green dream of natural tranquillity and social order – only to traumatise it.

James’s influence, or his example, has rarely been more strongly with us than now. For there is presently apparent, across what might broadly be called landscape culture, a fascination with these Jamesian ideas of unsettlement and displacement. In music, literature, art, film and photography, as well as in new and hybrid forms and media, the English eerie is on the rise. A loose but substantial body of work is emerging that explores the English landscape in terms of its anomalies rather than its continuities, that is sceptical of comfortable notions of “dwelling” and “belonging”, and of the packagings of the past as “heritage”, and that locates itself within a spectred rather than a sceptred isle.

I think the eerie is also a theme that runs through English comics, although Macfarlane doesn’t mention it, and I’m hard pressed to think of specific examples. Gothic psychogeography is very much Alan Moore territory, and it feels like it should be in Warren Ellis’s wheelhouse too, but have either of them written anything explicitly about the horror of the English countryside?

(via Theo Inglis)

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Warren Ellis Has Arrived

“I’m a comic book writer. I still don’t think this is going to be run by The Paris Review.”


Warren Ellis, author of Gun Machine and Dead Pig Collector, in conversation with Molly Crabapple for The Paris Review:

I try not to get involved in the business of prediction. It’s a quick way to look like an idiot. There’s an expectation around writers of science fiction, which I sometimes am, that we’re predictors of the future, that that is the business of science fiction. Which we’re not, and never were.

Science fiction is social fiction. That’s the line from Mary Shelley through H. G. Wells and Aldous Huxley and George Orwell to the politically committed writers of the sixties and seventies. It’s about using speculation as a tool with which to examine the contemporary condition. The closest it comes to prediction is in the provision of long-range weather warnings.

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Midweek Miscellany

Ghost Shapes — Writer Warren Ellis talks comics and, very briefly, his new novel Gun Machine at Robot Six:

Gun Machine is as much about the ghost shape of Manhattan’s previous settlements and roadways as it is about its modern architecture, and the invisible channels of wireless communication around which that structure now bends. I see — or at least I look for — the foundations of deep time, and the deals we do with it.

See also: A.V. Club’s review of Gun Machine:

In Ellis’ world, everything is all-caps, all the time, and any character who can ask for a cup of coffee in a way that doesn’t call for at least one exclamation point is a spoilsport. Gun Machine, Ellis’ second prose novel, is in exactly the same style and spirit as his comics; like his first novel, Crooked Little Vein, it gives the impression that Ellis didn’t write it as a comic only because pictures would have slowed down the action.

Sounds about right. The book is also reviewed at The New York Times(That fabulous cover for Gun Machine was designed by Keith Hayes designed by Oliver Munday with art direction by Keith Hayes by the way).

Be Still My Exploding Heart — Stephen Page, head of Faber & Faber, on the Penguin-Random House merger and what it means for the industry at large, at The Guardian:

Authors are talked about as brands in their own right, and this is correct. Publishers rarely achieve the status of becoming consumer brands of scale and significance. Is the next story for publishing going to be one dominated by global and local author and publisher brands, especially in niches? Authors and readers are at the centre of the world of books, and finding new ways to serve them will create further different structures. This merger may be seen as a starting pistol or perhaps an explosion in the heart of the old order dominated by the book trade.

Disposable by Design — Nicholas Carr on e-books and the apparent resilience of print books, at the Wall Street Journal:

From the start, e-book purchases have skewed disproportionately toward fiction, with novels representing close to two-thirds of sales. Digital best-seller lists are dominated in particular by genre novels, like thrillers and romances. Screen reading seems particularly well-suited to the kind of light entertainments that have traditionally been sold in supermarkets and airports as mass-market paperbacks… Readers of weightier fare, including literary fiction and narrative nonfiction, have been less inclined to go digital. They seem to prefer the heft and durability, the tactile pleasures, of what we still call “real books”—the kind you can set on a shelf. E-books, in other words, may turn out to be just another format—an even lighter-weight, more disposable paperback. That would fit with the discovery that once people start buying digital books, they don’t necessarily stop buying printed ones.

An alternative, more circumspect, version of the article can be found on Carr’s blog:

None of this means that, in the end, e-books won’t come to dominate book sales. My own sense is that they probably will. But, as we enter 2013, I’m considerably less confident in that prediction than I was a few years back, when, in the wake of the initial Kindle surge, e-book sales were growing at 200 or 300 percent annually. At the very least, it seems like the transition from print to electronic will take a lot longer than people expected.

And perhaps most interesting of all, Carr has posted a series of exchanges with Clay Shirky and Kevin Kelly about the post.

Covering some similar ground, only bleaker, Dennis Johnson’s striking post on the slow death of Barnes & Noble is also essential reading:

Perhaps the most disturbing thing about all this is the fact that, as with the demise of Borders, the demise of B&N has nothing to do with what its customers actually wanted, what’s best for mother literature or free speech, or anything other than made-up trends covering for killer capitalism. There’s still plenty of evidence that people like bookstores, for example, and even sales of hardcovers — let alone print books — are holding on. And so the lust for higher margins — whether from Godiva chocolates or ebooks — turned into fool’s gold for B&N. It’s perhaps a typical death in the Free Trade era, when companies lose all sight of their identity in the blinding light of the bottom line … but it’s the wrong death for a bookseller.

Somewhere in there, Johnson quotes this article by David Streitfeld in the New York Times, which makes the rather chilling point about a demise of Borders in 2011. Not only did it have a negative effect on the sale of print books, it was bad for e-books too. “Readers could no longer see what they wanted to go home and order.”

Sigh…

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Midweek Miscellany, June 10th, 2009

#BCTO09BookCamp Toronto organiser Mark Bertils’ stream of links about the event at his blog Index//mb. There is also a  list of related press at the BookCamp wiki. I will try and organise my jumble of thoughts about BookCamp sometime… soon… (ish).

The Book Seer — A nice little web project from James Bridle and the chaps at Apt Studio. Tell it what you’ve read and it will suggest what to read next based (currently) on LibraryThing and Amazon recommendations. James has more about the project at Times Emit.

Cultural Life — An interview with Granta magazine’s newly appointed acting editor John Freeman:

We need to expand how we define what it means to publish great writing. This means reaching readers in the way that they want to hear from us. Such as having a print edition for people who treasure the beauty of text and the photo essays on the page; having a dynamic website for those who want to read us online; having a Kindle or iPhone-compatible edition for people who want to read stories in the palm of their hand; sending out links by twitter to readers who want to know the moment new stories appear; hosting events and conversations and parties for people who want to interact with the magazine in person. The challenge is to make sure that none of these respective endeavors cheapens or reduces the complexity and integrity of the work we publish.

Passion and Daring — Ben Myers at The Guardian is heartened by  Canongate winning  publisher of the year.

Frightening But Cute — Illustrator Axel Scheffler,  talks about drawing the much-loved Gruffalo in a video interview also for The Guardian. Which reminds me — I’ve been meaning to link to Terrible Yellow Eyes for a while. It’s a collection of artwork inspired by Where the Wild Things Are (Robert van Raffe‘s contribution to the project pictured below).


Plastic Banality — Author Warren Ellis’ unique take on the “dubious virtues” of  e-books in Wired. Not for the sensitive or the faint of heart:

[W]hen print was king, we would speak of “reaching an audience”. We would talk of doing these things via advertising, or appearances – which were when you’d show up somewhere in the real world, deface books with ink and communicate using small mouth noises… This has changed in fairly savage ways. The complex net of processes designed to take your money and give it to me is kind of ragged, what with newspapers collapsing and the concept of authority being passed… to, in 2009, a Twitter post from the sainted Stephen Fry. It was great to get a review in a music paper (remember those?) and it was amusing to see Oprah recommending Cormac McCarthy’s The Road to housewives, but here’s the new audience mediation: Stephen Fry popping up on your bloody iPhone to tell you he’s enjoying reading The Watchmen graphic novel.

And finally…

I’m rather charmed by The Mandate Press’ customizable letterpress calling cards. I have always wanted a business card set in blackletter… But what literary theme should they add to their list I wonder?

You can see more of The Mandate Press’ lovely work on Flickr (via The Strange Attractor)

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