I’ll confess, though: I almost didn’t read this book. Actually, for several years I didn’t. I was vaguely aware of its existence, but I’d pretty much stopped reading new speculative fiction because I finally admitted to myself that it was pure masochism that kept me beating my head against the wall of newly-published extruded genre product when I had sixty-plus years of Hugo and Nebula nominees to choose from. Sure, every novel will reflect something of its age’s concerns (there’s a lot of nuclear war in those old Hugo winners!), but it’s gotten much worse in the last ten or fifteen years: every book that gets any buzz is so deeply inflected with questions of personal liberation from oppressive structures, so little nuanced and so obsessed with identity and representation, that I find it borderline unreadable. A few books like that, done well — fine, that’s part of life, that’s certainly a kind of story you can tell. But when it’s everything, when it becomes a precondition for publication, you’re left with a tragically denuded sample of the human experience. It’s not that I don’t want to read a book where I disagree with the underlying politics, it’s that an unsubtle obsession with the “correct” politics makes a book boring and cringe. One-dimensionally “right-wing” fiction written in reaction to the contemporary mainstream is just as bad — worse, perhaps, because if done well it’s the sort of thing I would really enjoy.1
Jane Psmith, “REVIEW: The Powers of the Earth, by Travis J.I. Corcoran”, Mr. and Mrs. Psmith’s Bookshelf, 2024-04-29.
- There’s nothing worse than poor execution of an incredible idea, because it means no one else will come along and do the incredible idea right. Austin Grossman’s Crooked, for instance, is Richard Nixon vs. Cosmic Horrors, which is a brilliant premise (yes, the Interstate Highway System is definitely an eldritch sigil designed to protect America, I will not accept any argument) but falls apart on the totally ahistorical version of our 37th President designed to justify making him the “good guy”. The real Nixon is such a fascinating and compelling figure — why not keep him as weird and twitchy and striving as he actually was and have him be the good guy anyway?
Or, say, the Napoleon movie.
