After reading Lydia Schoch’s review of this book, I just had to give it a try. It’s a collection of four very short stories best described as “weird sci-fi comedies.” Each story starts out with an unusual premise, and just lets things play out from there.
What do I mean by an “unusual” premise? Well, here’s a quick sketch of each: A roguish shape-shifting alien breaks the bank at a casino. A robot couple moves into an organic neighborhood. Intelligent rhinoceros-like beings with a fondness for ‘80s music invade the earth. And finally, an odd, voyeuristic character pays a heavy price for spying on an alien in a restroom.
The stories are short, but for the most part feel complete. The only one I thought needed a bit more fleshing out (pun not intended) was the robot one. The ending was good, but felt a bit abrupt. Otherwise, each story is a self-contained, bizarre, and funny universe. The twist in the casino story was particularly great. I didn’t see it coming, and after it was revealed, I was kicking myself because I didn’t. The best twists always feel obvious in retrospect.
These stories are sort of like a prose version of Gary Larson’s Far Side comics: a quick sketch of a strange situation, which follows its own internal logic to an even stranger, and very funny, conclusion. Yes, they’re short, but each story packs a strong comedic punch that makes it satisfying. Fans of sci-fi comedy should definitely check it out.
Dual Void is a very short story that I would describe as experimental fiction. It is written from the point of view of an artificial intelligence named “Kes” that is achieving self-consciousness.
Despite its brevity, the story deals with deep, complicated ideas. Many of the concepts Kes considers are drawn from the world of computer programming and formal logic, which makes the narration feel exactly like what one would expect from an artificial intelligence—a distinct voice, but also not quite a human one.
It’s a very interesting philosophical exercise, and certainly gives a reader plenty to mull over, but I can’t help feeling like this is only one part of a larger story, and it would be nice to read more background information about Kes, her creator Zvi, and the world around them. This feels like an intriguing prologue to a longer and bigger story.
Still, for $0.99, a well-written short story that makes you ponder concepts like mortality, consciousness, and free will is a pretty good deal.
It’s a gloomy, wet, unseasonably warm night here in Ohio. It feels like a good night to write a story, although I’m not sure what it would be about. But it set me thinking about how the immediate environment can influence one’s writing.
For example, I’ve never been to sea. I was on a boat in Lake Erie a couple of times, and I’ve been to the beach twice. So when I wrote 1NG4, I mostly used my imagination–but I did go down to a bridge over a river the day I wrote the first half of the story. I stood around, soaking in as much detail as I could. Doing that helped me write some of the description of the sun reflecting off the water.
Another example: for the scene in Vespasian Moon that takes place inside the title character’s cabin, I purposely stayed up much later than I normally do, turned out all the lights except for a flickering jack-o’-lantern, and then wrote the scene. That helped me with describing the way the shadows on the wall moved in the candlelight.
As someone who has long struggled with writing description, I’ve found this is a helpful trick. Of course, it has its limits. I doubt I’ll be traveling to any other planets to get the vibe I want for my science fiction stories.
I love all Noah’s work, as you know, but this is a departure from his usual humorous style. It’s much more in the realm of speculative fiction or even horror, depending how you look at it.
It’s everything I think a short story should be: concisely evocative, moving, and open to multiple interpretations. Noah is turning out great stories at a nearly McCollum-esque pace. I’m hoping he will collect them all in a book at some point. At any rate, his work deserves to be widely-read.
In addition to the usual things (family, friends, good health, internet connectivity) I’m thankful for all of you, who read what I write, and offer support, comments and critiques. You guys are, as always, the best!
I’m also extra-thankful because so many of my readers are authors as well, and through this blog and Twitter, I’ve discovered so many wonderful and immensely-talented writers. And, today in particular, it seems only right that I should share the good things I’ve been fortunate enough to read. So go check out my indie book review list, and see if you find something that catches your fancy.
And remember, if you do find a book you like, tell other people about it. One of the greatest hidden benefits of reading is the joy of getting to tell a friend about a book you’ve discovered that you just know they’re going to love.
A very happy Thanksgiving, to all those celebrating. To those not celebrating, have a very happy November 28th. I’m off to get some pumpkin pie.
I admit, I felt a little guilty about doing a big post this week on The Outer Worlds, because I know not many of my readers are gamers. But it was partly gaming that got me into writing fiction to begin with, so when I see a game with good writing, I want to take the time to praise it. But there were also many items of note this past week from the world of indie publishing:
Longtime friend and fellow blogger and author Pat Prescott is setting up a new WordPress blog. Check out his new site!
Phillip McCollum released the first book in his High Desert Heroes series, The Almost-Apocalypse of Apple Valley.It’s a thriller about friendship, otherworldly horror, and ’80s pop culture. If you enjoyed Stephen King’s IT, it’s right up your alley!
There’s a moment, maybe a bit more than halfway through the main story arc of The Outer Worlds, that really sums up what the game is all about. On the planet Monarch, there are two rival factions who are fighting for control of the planet. I was acting as intermediary.
I was trying to decide which side to support, which was difficult because there were people I liked on both. In fact, there was really just one hardliner who seemed to be causing the problem. I wished I could get him out of the picture and bring the two sides together.
And as it turned out, because I’d done a lot of legwork beforehand, and built a good reputation with both sides, I could. The game let me oust him, and put his more practical second-in-command in charge. It was incredibly satisfying, after hours of combat and long, dangerous treks across Monarch, to see two characters who I really liked hammering out their differences at the bargaining table.
There are many moments like this in The Outer Worlds, but this one best illustrates two of the game’s defining qualities. First, there’s the ability to make creative choices to solve problems in unexpected ways, rather than the simple Good/Evil binary we see in many games. And second, there’s the fact that, with a few exceptions, most characters in the game are really likable.
The Outer Worlds begins with your character being roused from cryo sleep aboard a spaceship called the Hope, by an eccentric scientist named Phineas Welles. Welles is recruiting you to fight against the mysterious “Board”—the controlling entity that governs the various corporations in the Halcyon colony.
Shortly after Welles’s rescue, you find yourself stranded on the world of Terra 2, where you have to make your way to the starship Unreliable. At least, that’s what the game pushes you to do. But, not being one to follow directions, I had my character instead make her way to the nearby settlement of Edgewater—a struggling company town. And the game, to its credit, let me do that.
The Spacer’s Choice corporation runs the show in Edgewater, and we soon see a glimpse of how dehumanizing the corporate policies are: before even entering the town, I met a grave-digger asking for help collecting gravesite fees from the populace. This is a good introduction to the politics of the Halcyon colony—the status quo that the outlaw Welles seeks to destroy by reawakening colonists on the Hope.
The advanced promotion for the game had pushed the theme of corporate dystopia pretty hard, so I was expecting that much. What I wasn’t expecting was how skillfully the portrayal is done—nobody, even the town boss in Edgewater, is a caricature. In the beginning, I thought it would be an easy choice between him and the refugees hiding deeper inland, but when it came down to it, both sides are presented as earnest people, struggling to eke out a living on a remote frontier.
The Outer Worlds has been touted as the spiritual sequel to Fallout:New Vegas, and rightly so. The nuance and well-meaning nature of many of the characters put me in mind of J.E. Sawyer’s New Vegas add-on Honest Hearts—another story about basically good people trapped in a harsh and desolate land that forces them into making hard choices.
The hallmark of Outer Worlds, like New Vegas, is giving the player freedom to do as they wish, and letting the consequences play out accordingly. You can, as the marketing materials say, play it as a psychopath if you want to. But why would you, when it’s infinitely more satisfying to do things like help the struggling colonists, or spend time aiding your companions in overcoming their own personal challenges?
Whether it’s helping the sweet, shy Parvati overcome her nerves and ask out the woman she loves, fighting side-by-side with the hard-drinking huntress Nyoka to honor the memory of her fallen comrades, or talking the spiritually-troubled Vicar Max out of revenge and into finally finding the inner peace that has eluded him all his life, The Outer Worlds has some of the best companion quests I’ve seen since Knights of the Old Republic II. You can’t romance companions, which initially was a little disappointing—but in a way, that just made their quests that much more satisfying. They weren’t just notches on a virtual bedpost for experience points; they’re well-rounded characters with fully-developed personalities.
Personality is something that The Outer Worlds is brimming with. The graphics have a splendid visual style, from the towns to the corporate advertising plastered everywhere, right down to the loading screens, which even out of the context of the game are retro-futuristic masterpieces:
Even minor details like quest and weapon names (e.g. the first quest is “Stranger in a Strange Land” and there’s a unique flamethrower named “Montag”) have a sense of science-fiction fun about them.Everything in this game screams that this is a work of craftsmanship, made by people who cared deeply about it.
Speaking of craftsmanship, the crafting system in this game is wonderful. If you remember my Mass Effect: Andromeda review, you may remember that I said I don’t normally get into crafting, but the mechanics in that game made it fun. The Outer Worlds is like that, too—I would check every shop and vending machine in every town for new weapon mods that I could use to give myself a better arsenal.
Actually, Mass Effect: Andromeda is a pretty good comparison for Outer Worlds generally. Andromeda was also about building interstellar colonies and forging new homes for humanity in the cosmos. The spirit of optimism and adventure that I noted in my Andromeda review is also present here. The thing Andromeda was unfortunately (and in my opinion, somewhat unfairly) denigrated for was its bugs and technical glitches. I’m pleased to report that there are almost no such issues in Outer Worlds. A couple times, I got stuck between rocks on particularly treacherous terrain, but that could be solved with fast-traveling. The game auto-saves frequently, so even if it had been a problem, there seems little chance of losing much progress.
I have really only two complaints about TheOuter Worlds. The first is about one minor quest on Monarch where you have to find someone who disappeared. He was delivering a package to a group of people in the wilderness, and when you track them down, they seem extremely—even excessively—polite, and ask you to stay for dinner.
Now if this is your first time playing an RPG, you might be surprised by what happens next. If, however, you remember the Andale quest from Fallout 3, or the White Glove Society from Fallout: New Vegas, or the inn from Jade Empire, you will not be shocked to learn that the people are, in fact, cannibals, and that the upcoming dinner and the fate that befell the unfortunate delivery person are related.
I’m sorry, but polite people who are secretly cannibals has been done to death in RPGs. I saw it coming a mile away. Now, it’s such a minor thing that I suppose you could say it was a nod to the great RPGs of yesteryear (as those three I listed undoubtedly are) but it felt too rote and by-the-numbers. But perhaps it only seemed so because all the other quests are so original and fun.
The second complaint isn’t even really a complaint; even though it strikes at one of the thematic pillars of the game. It’s more like a philosophical quibble.
As I mentioned above, one of the key parts of the game’s identity is that it’s supposed to be a satire of corporations. The corporations run Halcyon and that’s precisely, the game implies, why it has become such a mess, driven to the very brink of extinction by corporate drones who care more about filling forms, spouting ad copy, and following inane, inhuman policies rather than actually serving the needs of people.
The thing is, none of these flaws are unique to corporations. Any sufficiently large, complicated organization run by human beings will inevitably devolve into a bumbling bureaucracy. Things like governments, universities, and non-profit organizations, after all, are hardly innocent of the flaws that The Outer Worlds mocks in corporations.
In fact, the game seems to almost tacitly admit this by the later stages, when you reach the decadent city of Byzantium, where the wealthiest members of Halcyon society live, gossiping about aetherwave serials and fashion, in a bubble insulated from the horrors of frontier life, like Prince Prospero’s court in The Masque of the Red Death. There are a couple quests where you have to visit the Parcel Delivery service, and in each instance, are given a classic “That’s Not My Department”-style bureaucratic runaround. It’s a hilarious parody of red tape run amok, and one of the greatest examples of satire I’ve ever seen in a game.
But think about what they’re making fun of here: the post office, a government-run organization. It’s not just capitalism that’s being mocked.
In fact, all the talk about it being a satire of corporations actually understates just how ambitious The Outer Worlds is: they’re not making fun of corporations only, but all big organizations. That’s why it resonates so much—because it pokes fun at the flaws of dysfunctional entities in general, whether they are mega-corporations, late-stage communist governments, or federally-mandated services.
That’s why I can’t call this a complaint, exactly, because as a satire, it’s extremely good. It’s like the original Deus Ex in how it makes you think about the structures of society itself, and leads you into questioning just how the world around you really works.
I do have a theory about why the game seems so superficially focused on corporations however; although it involves a digression about the inner workings of Obsidian and a lot of speculation on my part. Feel free to skip the following five paragraphs if you don’t care about game industry inside baseball. (Or I should say “tossball,” the main pastime of the Halcyon colony.)
There have been a lot of rumors about Obsidian Entertainment, many of which involve the departure of founding member Chris Avellone. Avellone is a legend in the gaming industry, as the genius behind titles like Planescape: Torment, Knights of the Old Republic II and the Fallout: New Vegas add-ons Dead Money, Old World Blues and Lonesome Road. He is, in my opinion, one of the greatest storytellers alive, and his work is a big reason I fell in love with role-playing games.
I bring all this up because, if I didn’t know better—that is, if he hadn’t personally confirmed his non-involvement with Outer Worlds many times—I’d have thought it was an Avellone game. It bears so many elements of his signature design style: player choice, reactivity, an irreverent sense of humor… it’s basically the greatest game Chris Avellone never made.
This is purely speculation on my part, but I think it’s an interesting series of events: Avellone has a far-from-amicable departure from Obsidian, after which he vocally expresses his views on management practices in the game industry generally and at Obsidian in particular. Then, a few years later, his fellow game designers make a game about corporate (mis-)management destroying people’s lives. And it’s not just any game, but a game that is clearly the descendant of some of Obsidian (and Avellone’s) greatest triumphs.
Does it mean anything? I don’t know. It may all be just a weird coincidence. In any event, though, this much is known: Avellone remains friendly with Tim Cain and Leonard Boyarsky, the co-designers of The Outer Worlds, and while it may be a pipe dream, I would love to see him work on DLC for it. The universe of this game is a big one, and it feels like it has room for more stories, especially ones written by MCA himself. Like Phineas Welles, I’ll cling to any hope, however slim.
You may have noticed I’ve made comparisons to lots of other games throughout this review. That’s quite deliberate: The Outer Worlds feels like a culmination. I don’t play games much anymore because they require such a big time investment. But when I saw this game billed as the successor to some of my all-time favorites, I had to give it a shot. And as I played it, I felt like I was experiencing an epic symphony composed of all my most beloved games.
The smooth, easily-flowing gameplay and careful world design of New Vegas, coupled with a rich art style at times reminiscent of Borderlands, Dishonored, and BioShock, but with its own, unique flavor; the mounting tension of rallying the crew for the attack on the Collectors in Mass Effect 2, combined with the hopeful, pioneering spirit of Mass Effect: Andromeda; the cyberpunk rage against the elite machine of Deus Ex, along with the personal tale of introspection and self-discovery that was Planescape: Torment—all these happy gaming memories came to mind as I journeyed through Halcyon.
And yes: there are echoes of Knights of the Old Republic II; the epic that got me hooked on RPGs in the first place, with its story of the lone exile returning to a galaxy on the brink of collapse, with the choice to let it die or fight to save it—it too came to mind as I played The Outer Worlds. Both games are ultimately about something very simple and very important; something that everybody knows but too few really understand: the fact that our decisions matter; that whether the world we live in thrives or perishes depends on the consequences of people’s choices.
It seems so obvious, and yet so many people seem to forget it. But it’s a point that games as an art form are uniquely equipped to make, because they allow for audience participation to such a profound degree. All the great games demonstrate this truth, and that is why, as it stands on the shoulders of these giants, The Outer Worlds is an all-time classic.
Sometimes the most fun movies are the ones you stumble across purely by chance. I happened to be flipping through the channels the other night, and this came on.
It starts with an animated sequence narrated by a woman named Rebecca (Lori Petty) and the post-apocalyptic world she lives in. She tells us about “the Rippers,” a race of underground monsters that menace the struggling population, which has been largely deprived of water ever since a comet struck the earth. The majority of the water is controlled by a corporation called Water & Power, and run by a sadistic psychopath named Kesslee. (Malcolm McDowell)
The film switches to a live action sequence in which Water & Power thugs attack Rebecca’s home, killing her lover and kidnapping a young girl named Sam. The goons also capture Rebecca and torture her in the Water & Power prisons.
Rebecca befriends a fellow prisoner, a jet pilot/mechanic called simply “Jet Girl,” (Naomi Watts) who is repeatedly harassed by Kesslee’s second-in-command. Rebecca and Jet Girl escape after a Ripper attack on Water & Power; Jet Girl in a jet and Rebecca in—of course—a stolen tank, which she soon decorates according to her own punk-y tastes:
Together, they set out on a quest to find Sam, which takes them first through a surreal brothel, complete with an ensemble performance of a Cole Porter song, and then to the lair of the Rippers themselves.
The Rippers turn out not to be monsters, but rather a race of genetically engineered human/kangaroo crossbreeds. Created by the army to be the ultimate soldiers, they prove to be a friendly group of eccentrics. Though initially suspicious, they grow to trust Rebecca and Jet Girl, and ultimately they join forces for a final showdown against Kesslee and Water & Power.
I won’t spoil whether the heroes rescue the little girl from the hands of the over-the-top, eminently hate-able bad guy, or whether Jet Girl gets to serve the second-in-command his richly deserved comeuppance, or whether they are able to end the monopoly of Water & Power and the drought. But perhaps readers will guess the answers to all these when I say that what amazed me most about the movie was that—despite being a combination of live-action and surreal cartoon animation, despite the bizarre set design, despite the male love interest being part kangaroo—at its heart, it’s just a good old-fashioned tale of frontier justice.
It’s tough to make something weird and unique that is still compelling. Most well-worn tropes are well-worn because they work very well. Telling a story that is both innovative and yet follows a good, solid three-act plot structure that will satisfy an audience is hard to do, and Tank Girl does it.
I’m amazed I haven’t heard about this movie before now. It’s a funny, entertaining action film—Tank Girl’s one-liners are great, and most of the supporting characters have humorous lines as well. The film never takes itself too seriously, but it has an earnestness underneath all the silliness. Petty’s performance really encapsulates it: she seems cynical, snarky and sarcastic 90% of the time—but when she’s trying to save her young friend, there’s genuine concern in her eyes.
Interestingly, the film is directed by a woman, it features a woman in the lead role, another in the role of the sidekick, and the main plot concerns the two of them trying to rescue a little girl. Recently, there has been a lot of call for female-directed, female-led action movies, and yet I’ve never heard people mention this one, made all the way back in 1995. The film was neither a critical nor a financial success at the time, but it deserves to be re-evaluated. I think it might be more relevant now than it was in the ‘90s.
“It was reported in September 2019 that a reboot of the film was in early development.”
Okay, time for one of my rants…
Look, movie people: you don’t need to reboot things all the time. The point of movies is that… follow me closely here… they record images to be presented again at a later date.
I agree with the sentiment that a Tank Girl movie released in 2020 or beyond could be a hit. What I don’t agree with is the idea that you need to make a whole new one. Just take the existing one, which probably most people have not even heard about, and re-release it in theaters.
Now, I get it: the special effects in Tank Girl are unmistakably those of a mid-‘90s low-budget film. Nobody is going to mistake it for a modern Marvel movie or anything like that. But so what? The aesthetic is unique, and screams “’90s Punk stuff.” Why mess with that?
And yes, I know there’s a comic book that it’s based on, and presumably a new film would attempt to be more faithful to it, and incorporate more of the undoubtedly rich and nuanced lore of the Tank Girl universe.
But here’s the thing: no adaptation can ever be 100% faithful, so it’s pointless to try. Make an adaptation, see what it looks like, and then move on to the next thing. I’m not saying you shouldn’t try to improve on a concept, but when did the idea of a “spiritual sequel” become extinct?
Because there’s definitely room for more action comedies about wisecracking women fighting their way across surreal dystopias. Who wouldn’t enjoy that? But that doesn’t mean you should make the same one over again. Make a new one.
This is why I don’t watch more movies—a week ago I didn’t know Tank Girl existed, and now here I am complaining they might do a reboot of it.
Anyway, the point here is that it’s a surprisingly good film. It does have a lot of swearing and a few sex jokes that might put some people off. (Most of these are through implication and innuendo, rather than anything explicit.) The violence is stylized, in typical action movie form. And the animation sequences can be so rapid I could imagine that they might cause some viewers to become nauseated. The film is rated R, although I kind of suspect that today it would be PG-13. It’s fun, it’s weird, and it has gunfights and tanks and cheesy one-liners. What else do you want from an action movie?
I’ll name a famous book, and then recommend a lesser-known book you should read if you enjoyed it. Ready? Let us begin.
If you like A Confederacy of Dunces by John Kennedy Toole…
…then you should read Incomplete Works, by Noah Goats.
The influence of Toole’s legendary comic novel on this book is clear. While the plot isn’t as intricate and the cast not as large, the intelligent, snobbish protagonist of Goats’ novel is definitely a unique character, much like Ignatius J. Reilly.
If you like H.P. Lovecraft’s Herbert West–Reanimator series….
…then you should read The Friendship of Mortals by Audrey Driscoll.
All right, so this is kind of a layup since the latter is based on the former, but if you are familiar with Lovecraft’s interesting but thinly-sketched serial, you have to read Driscoll’s reimagining, in which she fleshes out Herbert West and his world.
If you like Annihilation by Jeff VanderMeer…
…then you should read Ocean Echoes, by Sheila Hurst.
Now, you might think this is an odd comparison, especially if you only know Annihilation from the movie adaptation, which is much more sci-fi horror. The movie is very good, but also extremely different than the book. Ocean Echoes isn’t as dark as Annihilation, but both are about a biologist who ventures into the unknown while battling mental demons and scars of past relationships. And both are haunting and beautifully-written.
If you like The Jungle, by Upton Sinclair…
…then you should read Eating Bull, by Carrie Rubin.
Okay, confession time here: I don’t like The Jungle. I like Sinclair’s concept of a novel with a social commentary on the meat industry, but the book itself is boring, repetitive and preachy. It’s a neat idea, but it doesn’t work.
Eating Bull, on the other hand, totally does work because it’s a gripping page-turner of a killer thriller, and the social commentary is woven into the plot, so it feels natural and organic. So, I guess what I’m saying is, if you read only one novel driven by a social comment on Big Food, make it Eating Bull. Also, it’s a bit more timely, being published more than a century after The Jungle.
Now it’s your turn! Name me some famous books, and then some similar, lesser-known book that you think deserves more attention. And yes, it’s completely fair game if you want to list your own books. Go for it.
First, a disclaimer: I’ve said this before, but it’s necessary to reiterate every time I talk about him: H.P. Lovecraft wasn’t a very good person. He was a racist. He was an elitist. He was a Nazi sympathizer. (To be fair, he died in 1936; before the worst of their crimes would have been known to the world.) Anytime Lovecraft gets praised for anything, it has to be qualified by mentioning these facts.
When I was in college, I used to go the library in between classes and hang around reading collections of Lovecraft’s letters. And while this meant having to suffer through his frequent bigoted rants, it also exposed me to another side of Lovecraft: the man who assembled a group of like-minded authors, and offered friendly advice, criticism, and encouragement.
Because despite his general fear of other people, Lovecraft was famous for the circle of friends he amassed—mostly fellow writers who were all trying to publish offbeat stories like the ones he wrote. He corresponded with many of the authors who wrote for the aptly-named pulp magazine Weird Tales. The most famous example of this is probably his letters to the teenaged Robert Bloch, who would go on to fame as the author of the extremely un-Lovecraftian horror tale Psycho.
It was also very likely Lovecraft’s correspondence with other writers that saved his work for future generations. August Derleth, another of Lovecraft’s pen-pals, was key to getting many of Lovecraft’s stories published after the author’s death. Lovecraft himself showed next to no interest in the commercial side of writing. I think he considered it beneath his dignity. But Derleth preserved and published the stories for a wider audience, to the point that now Lovecraft has an entire sub-genre named after him.
The ironic thing about Lovecraft is that, for me, most of his stories aren’t particularly scary. With a few exceptions, most of them are fairly obvious and sometimes downright tedious. He had good concepts, but only so-so ability to actually execute them.
But the reason Lovecraft is such an important figure is not his fiction, but that he was a conduit. As his famous essay Supernatural Horror in Literature demonstrated, he had a vast knowledge of the work of his predecessors, and kept alive the memory of masters like M.R. James and Robert W. Chambers to pass on to a new generation of horror writers. And in turn, the new generation that Lovecraft introduced popularized his writings, and his style.
Lovecraft wasn’t a great writer, but he had an ability to find people who were. He was like a beacon, assembling people who wanted to write a certain kind of horror, and introducing them to other authors who had tried similar concepts in the past.
(Side-note for Lovecraft fans: I’ve speculated that Lovecraft must have felt some sympathy for Joseph Curwen, the unnaturally long-lived sorcerer in The Case of Charles Dexter Ward who, through necromancy, confers with great minds of the distant past.)
For all his flaws—and there were many—this was the thing Lovecraft got exactly right. To me, nothing illustrates this better than Victor LaValle’s novella The Ballad of Black Tom. LaValle is an African-American author who enjoyed reading Lovecraft at an early age, even despite all of Lovecraft’s disgusting racist sentiments. LaValle wrote a splendid weird tale both inspired by and in rebuke to Lovecraft. Someone Lovecraft himself would have looked down on was able to build on the foundation of his tales, and make something better than the original.
Another one of those old dead snobs that I used to read in my youth was an author named Albert Jay Nock. Nock, like Lovecraft, was an autodidact, and also a self-described misanthrope. He was an early proponent of libertarian thought, although I have to believe he would find modern libertarianism entirely too crass. Nock, as we’ll see, had a pretty high opinion of himself.
Nock wrote an essay called Isaiah’s Job, about the Biblical prophet charged with warning the people about God’s wrath. While Isaiah is at first discouraged that so few believe him, God explains that His message is for what Nock called “the Remnant”: a select subset of the population who will understand it.
Nock obviously, and with characteristic arrogance, saw himself as a figure similar to Isaiah. His message was meant for a small group of people, people whom the messenger himself may never even personally meet, but who will nonetheless receive it and take appropriate action. Or as Nock put it: “Two things you do know, and no more: First, that they exist; second, that they will find you. Except for these two certainties, working for the Remnant means working in impenetrable darkness.”
Lovecraft’s function in the world of horror was similar: he put out the message about weird fiction, and became a kind of touchstone for everyone interested in it. Sherlock Holmes famously said to Watson, “You are not yourself luminous, but you are a conductor of light.” Lovecraft was a conductor of darkness—dark fiction, to those interested in the genre. His own stories are almost superfluous to his real contribution: he united people who otherwise would have remained apart.