L. Timmel Duchamp says that Love’s stories consist of “fairly plain words (and never very many of them),” in her introduction to this collection. That might sound like faint praise indeed, except that the rest of the introduction praises those same words’ “amazing, amusing magic” – and she’s right. It’s also why, when Alisa Krasnostein (of Twelfth Planet Press, who put this collection out – yes, fair dealing, she’s a friend) asked what I thought of it I had to pause, and think through my response. Which initially concerned her, I think, but my hesitation wasn’t about “how do I tell my friend I didn’t like the book?” but “how do I my feelings into words?” It was compounded by the fact that I read the collection in very fast time (two and a bit tram rides, to be exact) – it is only 80 pages long, in the cute little format that all of the Twelve Planets have come in.
So what did I think? Well, most of the stories feel pretty easy to read, thanks to that simplicity of prose Duchamp identifies and the fact that there’s no padding in any of them. Most of them, though, are likely to sneak around to the back of your head and whack you one to make you realise that simplicity of prose is by no means the same as simplicity of purpose, or theme, or consequence.
“Secret Lives of Books” has the most straightforward narrative structure of the stories here. Ritchie is dying, and his books have always been of far more importance to him than human relationships. So, simple: after death, go live with the books. In the books. But as he whispers to his ex-wife Luisa: Books suck your blood. How will they respond to this invasion, and how will they react when their existence might be threatened? And when they find out about the internet? … A simple narrative, yes, but a provocative probing into our relationship with books and with other people, and with the concept of knowledge. I read once a (mostly tongue-in-cheek) suggestion that humanity was the weapon grasses like wheat utilised in order to fight the trees. I was reminded of that, here.
True fact: I have never heard of Kiddofspeed. Turns out this is a real thing, a website where Elena Filatova discussed riding a motorbike through the area around Chernobyl, post-disaster. In “Kiddofspeed” Love does a glorious job of interrogating the question of fact v fiction, and especially the question/issue of how the internet makes the casual reader’s understanding of the line between these two things so much harder. If it’s on the internet it’s true, right? If I say it is? (I’m put in mind of this article suggesting/explaining that Tom Cruise did not, actually, jump like a mad thing on Oprah’s couch – well, not how most of us “remember” him doing so, anyway.) Love also has a dig at some of the wilder “theories” about Chernobyl, and shoots them down in very few, scathing, words.
A qasida is “a form of lyric poetry from Arabia about the pain of lost love” – at least so says the prologue to the story of the same story, and coming straight after “Kiddofspeed” there is part of me that pauses and wonders whether the entire collection might be playing some sort of grand didactic prank… but surely not. (Right?) This story flicks between Bronnie, living now and with the knowledge that Mars-obsessed Del is lost, and Livia Wynne – general fixer for the British Empire in its last gasp, after the First World War. I could completely spoil the narrative (Del is on Mars) and not spoil the story. I haven’t, promise. (And because it’s on the internet….) Relationships, the quest for knowledge, the (im)possibility of cross-cultural understanding, the drive to go, the complexity of language: all of these are touched on, lightly but generally profoundly.
“The Kairos Moment” is probably my least favourite story. I don’t dislike it, it just doesn’t work for me like the others. ‘Kairos’ is the Greek term (apparently… who me, paranoid?) for a moment of something wonderful happening. The narrator theorises that music is one method by which to achieve a kairos moment, and proceeds – as part of her research (I just realised I’m assuming it’s a her – I don’t think it’s revealed) – to try and create one. It’s not entirely straightforward, nor entirely a healthy experience for some.
The final story is
The slut and the universe
The relations between feminism, global warming, global financial meltdown,
asteroid impact, the nuclear arms race and the mass extinction of species.
How feminism got to be both the root of all evils and the means of salvation from them.
It opens with “One upon a time, there will be a young girl who live with her family in the middle of the woods.” Can you tell this is my favourite story? Marysa lives with her mother and her grandmother. They argue about the clothes she wears, with the word ‘slut’ bandied around – “Not that they mean Marysa is a slut… [but that she] has chosen to dress like a slut, and therefore… people she meets… will treat her like a slut and TAKE ADVANTAGE” (68). A condemnation of slut-shaming in a page of prose, hell yes. And then they get on to the patriarchy and all of the things suggested in the multiple titles. With Gaia along to stir up the conversation a bit. The narrative is tenuous, true; there are hints of a world that has gone bad (worse than ours at the moment anyway), and the relationships between the three generations. The focus is absolutely on conversation and argument between the four. It’s a place for Love to set up ideas and be provocative and maybe even extreme, and I loved it.
This collection is awesome. You should buy it.