The Read Report — March 2024

Well, we’re halfway through April, but I’m just getting around to my monthly reading recap. This month was mostly continuing series: The Witcher, League of Extraordinary Gentlemen, and finally finishing Harry Potter with my kids.

Where possible, I’ve included Bookshop affiliate links instead of Amazon. If any of these book pique your interest, please use those links. I’ll get a small commission, and you’ll support real book stores instead of mega-yachts for billionaires.

The Complete Short Stories of Ernest Hemingway

By Ernest Hemingway

Hemingway is often cited as the pinnacle of American short fiction, and I haven’t read any of his work since college. Perfect for my year of short stories. However, this particular collection is 650 pages, and I only managed about half of that in March, so I’ll be continuing in April.

If you’ve heard anything about Hemingway, it was probably that he’s known for his short, terse sentences. While those sentences are certainly present, he actually mixes up his sentence styles quite a bit. I feel like this description of him has been cargo-culted through undergrad English programs for decades. Possibly unpopular opinion: many of his best sentences are quite long.

While the majority of Hemingway stories are quite short and straightforward, the language is sometimes a little bit of a slog. We’re far enough removed from the times and places in these stories that it’s like visiting another land. The style and word choice is old fashioned enough that it’s sometimes like translating a different dialect. It’s not like parsing Shakespeare or anything, but I’m probably getting less out of it than a contemporary reader would.

None of these stories are particularly plot-heavy, and many are vignettes with scarcely any plot at all. They capture a feeling and a place and time, but I find myself wishing that more would happen.

If you’re a modern reader who is acclimated to fast-paced, plot-heavy stories, and you’re not interested in the historical value or the literary prose, I can’t really recommend reading all of the Complete Hemingway. However, I think anyone with an interest in short fiction should read at least a few of his more famous stories.

The Witcher: Baptism of Fire

By Andrezej Sapkowski

War is raging between the kingdoms of the north and Nilfgard. The Witcher is recovering from a near-fatal beating at the hands of the traitorous sorcerer, Vigilfortz. Ciri has become a bandit in Nilfgard, (though Nilfgard claims she is safe under the protection of the Emperor). Yennefer is gone, missing after the battle at the sorcerer’s conclave.

We appear to have reached the section of the fantasy series where the main characters are all split up and must fend for themselves. For Ciri, this means having to survive for the first time without the protection of Geralt or Yennefer, and falling in with a very bad crowd.

For Geralt, the Witcher, this means coming to grips with the possibility that he is not strong enough to protect the people he loves without some help. Despite himself, he collects a motly crew that includes his longtime bard friend, Dandelion; Regis, the old alchemist with a dark secret; Milva, the human archer allied with the non-human scoi’atel rebellion; and a caravan of kind-hearted dwarves scavenging and collecting refugees in the wake of battle.

Yennefer’s absence remains a mystery for most of the book, but she comes back into the story with a meeting of a new alliance of sorceresses from the north and Nilfgard. As usual, the wizards are always plotting ways to control the events of the world. Unfortunately, those plans still involve Ciri.

The strength of the Witcher books thus far is the way the story integrates the large-scale political machinations and battles with the personal connections between characters.

League of Extraordinary Gentlemen, Vol. 2

Written by Alan Moore, Illustrated by Kevin O’Neal

We begin with John Carter and Gullivar Jones as leaders in a war of many races on mars. One alien race, holed up in a fortress, escapes in rockets headed for earth. Thus begins the Martian invasion of tripods, a la War of the Worlds.

The first volume of League was so short and introduced so many characters that there was limited opportunity to delve into each one. It worked, partly, because the source material was already familiar. In Volume 2, there is space for more characterization: romance, betrayal, and plenty of fractures and disagreements between the League’s members (as well as Bond, M, and the British government).

If Volume 1 was the origin story, Volume 2 feels like an abrupt finale. Two members of the League end up dead and the rest are estranged by the time the story is over.

The weakness of the series so far is that all these exciting characters have so little control of their own lives. The violent and self-centered Hyde and Griffin act on their own impulses, mostly to their  detriment. Mina and Quatermain, and to some extent Nemo, are the “good kids” of the group, who actually follow orders, and are once again used to carry out actions they don’t understand or necessarily agree with. While the League plays a major role in the fight against the martians, I couldn’t shake the feeling that they were side characters in their own story.

Volume 2 concludes with a thirty-page illustrated travelogue that hints at several earlier iterations of the League, composed of literary characters from previous eras. It also hints at the future.

Like the Quatermain story at the end of the first volume, this was too tedious for me, and I ended up skimming by the end. There are tantalizing references to the previous Leagues and the adventures of Allan and Mina will have after the Martian invasion. But much like Calvino’s Invisible Cities, endless descriptions of fantastic places become dull when they have no characters or plot to anchor them.

League of Extraordinary Gentlemen: The Black Dossier

Written by Alan Moore, Illustrated by Kevin O’Neal

Set in the same alternate universe as the first two volumes, we’ve jumped to 1958. The totalitarian post-war Big Brother government has just fallen in England, and Mina Harker and Allan Quatermain are back after years abroad.

Black Dossier expects the reader to have slogged through the travelogue at the end of Volume 2, which contains a lot of mostly elided story. It explains where the pair have been all these years, why they are young-bodied and effectively immortal, who the heck this Orlando character is, and what exactly is up with the Blazing World.

Black Dossier is a very strange comic, a time-jumping multimedia extravaganza. It begins as an ordinary comic, as Mina and Quatermain trick a rather nasty version of James Bond into gaining them access to military intelligence records. They proceed to find the black dossier of information about all the different incarnations of the League, and make their escape.

Safely back at their boarding house lodgings, they begin to read the dossier. Then the narrative  pauses to show the contents of the files.

The rest of the books shifts back and forth between Mina and Quatermain in ’58, fleeing military intelligence, and the dossier’s files, which range from lost Shakespearean folios to memoirs and maps, to borderline erotica/porn.

This book is incredibly horny. It makes some sense, with the pulp fiction roots that the series embraces wholeheartedly, but at a certain point it just comes across as a little juvenile, especially when some sections have no purpose in the story and exist just to be sexy.

The book ends with a 3D glasses chapter, and a play on the end of midsummer night’s dream — instead of comparing stories to dreams, it plays on the way science fiction has shaped the world over the years.

The League books have always been a mix of high-brow and pulpy. Unfortunately, the whole experience is pretty uneven. Some sections are dull and self-indulgent, feeling more like a collection of backstory notes than proper story, and it’s frustrating that you need to cross-reference everything to get a sense of exactly what’s going on.

Harry Potter and the Deathly Hallows

By J. K. Rowling

This final book of the series eschews the structures that have held fast through the previous books. Harry isn’t going to school. He’s on the run, searching for the immortal lich villain’s phylacteries horcruxes. The story alternates between a series of narrow escapes and heists.

The death of a secondary character at the end of the fourth book was fairly shocking compared to the surrounding material, but the tone is so much darker by this final book that major characters are dying every few chapters.

The biggest problem I have with this book is how much time the three protagonists spend wandering, with no idea what to do. They fight, separate, come back together. They argue and complain. The middle of the story gets bogged down and doesn’t seem to be going anywhere. It’s too bad, because the first third and last third of the book are packed with good action.

Right in the center of this soggy middle is a sequence where the main characters acquire an important macguffin without any effort on their part. This is all explained much later, but it still feels like a major success falling into their laps almost accidentally.

Finally, I have to complain at least a little bit about the amount of info-dumping that occurs in the last couple chapters of the book. The biggest info-dump comes through the pensieve, a magical device that allows Harry to view other people’s memories. This device is Rowling’s exposition machine in the latter half of the series, but it is exercised to such an extent in this book that we effectively get a whole chapter of wading through memories. I can’t help but feel that this was a bit of a cop-out, allowing Rowling an easy way to reveal all the important secrets of a major character right at the end, without any of the messy difficulties of figuring out how the characters could discover that information.

With all that said, and the occasional other complaints I’ve lodged in earlier Read Reports, the series holds up pretty well. It feels relatively unique in the way its voice changes so significantly from the beginning of the series to the end. It also creates a huge cast of interesting characters. So even if I may be irritated by the inconsistencies of the magic or the incredible dysfunctionality of wizard society and government, the story still gets me to care about what’s happening to Harry and his friends.

What I’m Reading in April

I’m going to be finishing off the League of Extraordinary Gentlemen with Volumes three and four. I’ll be reading the fourth novel in the Witcher Saga, Tower of Swallows. I’ll also be doing my best to finish The Complete Short Stories of Ernest Hemingway.

Razor Mountain — Chapter 1.3

Blackness swallowed the orange light. It pulsed red with his heartbeat. The plane had crashed in a fiery cataclysm, and it had somehow engulfed him. He felt nothing. His muscles refused to respond. He was dead. A ghost. Or some remnant that soon would be.

A moment passed. Another. Feeling came back to him: pressure pushing from every direction, crushing inward. His vision was blurry and stinging. Recovering from the immediate shock that had forced the air from his lungs, he instinctively sucked in a breath and found himself choking.

It came to him, as he struggled for air, that the thunderous pain he had felt was his body hitting the water. The explosion of the plane only happened to coincide. The darkness lightened in faint increments. Christopher wondered how many miles he had plunged beneath the surface of the water.

Like everything else, breaching the surface came as a complete surprise to Christopher. The cold air needled his face. He coughed out an unbelievable amount of water, trying desperately to hold his mouth above the surface. Just as he thought he might have gotten most of it out, he went under again for a moment, sucking in a fresh mouthful that led to another round of gagging and coughing.

He finally managed a few quick, shuddering breaths of freezing air. It felt like breathing electricity. It arced down his limbs, into his fingers and toes. Everywhere it touched, fresh pain blossomed into his body. The pulsing black-redness encroached on his vision again and he had to fight it back.

His thoughts had been sluggish on the plane, even under the terror of his situation. The strange disassociation between body and mind had somehow gotten him this far. Now, with the impact of the water and the cold electricity suffusing him, he was fully awake for the first time.

He could breathe. He could swim. His body hurt all over, but there was an entirely different level of pain shooting up his right leg. With his newfound awareness, he knew that the water and the air were too cold. Though it was ostensibly early autumn, winter had clearly started seeping up into these Alaskan mountain valleys.

Whatever rational part of his brain had been guiding him up to this point, it was gone now. All that was left was the eerie sound of the water lapping all around him. Christopher didn’t need a guiding voice to tell him that he had to find shore as quickly as possible.

He pushed his leaden limbs through the water. It was like swimming through molasses. He was not a strong swimmer — God, how he knew he was not a strong swimmer — but he managed a fumbling breast stroke. Here and there, his hands shattered thin sheets of ice on the surface.

This wasn’t the first time he had found himself frantically swimming toward shore. As a child, he had once gone too far out, not fully understanding the differences between lake and ocean. In that case, he had been rescued. He had been a child, but uninjured. Now, he knew there would be no one bringing him to shore. He was grown, but might very well have broken the bones in his legs.

It took so much concentration to simply keep pushing forward that he didn’t notice the shore until it was close. He looked up, trying to muster the energy to continue, and saw a rocky shoreline. The sheets of millimeter-thin ice were smashed and piled up along the rocks under tufts of scrubby grass. Boulders loomed on the slopes beyond, which rose to a stone shelf some fifteen feet high.

Christopher redoubled his efforts, managing to cover more than half the distance before he had to pause again. Despite the intense exercise, he was shivering uncontrollably. He clenched his teeth to stop them chattering. He let his legs sink under him, stretching his toes and discovering that he could just barely touch the lake bottom. He took a few deep breaths and paddled forward.

His strength gave out with little warning, and he suddenly had trouble holding his head above the surface. As he went under, he scrabbled with his feet and found the bottom once more. It was shallower, enough that he could stand with his head tilted and barely keep his mouth above water.

His right leg was in bad shape. He had to push off the bottom with his left. Even a small amount of pressure on the right was excruciating. He fought the urge to reach down and check for protruding bone. He couldn’t pull his knee up anyway.

Pushing with his leg was faster than swimming, at least until the shallows where he had to stand. He took a moment to confirm that there were no jutting bones and nothing was horribly twisted. He tried to put all his weight on his left leg, but it was still too much strain on his right. He got halfway up before it gave out and he splashed down onto his right hip. The pain was a white sheet that covered him. He couldn’t see or feel anything beyond it. He couldn’t tell how much time passed before he was aware of himself again.

Unable to stand, he crawled through the shallows. This was no sandy beach. The lake bottom was covered in smooth-worn lake rocks, with occasional sharp bits that had tumbled down the slopes more recently. Christopher had little feeling in his fingers and suspected they would be torn up by the time he reached shore.

The final gauntlet the lake placed in front of him was five feet of rough gravel beach caked with razor shards of thin surface ice. He crunched through it painfully.

He looked up from his ground-level drama to find the nearest tree. It was a gnarled pine with clumps of finger-length needles. He set this as his target and continued crawling into the crispy, freeze-dried scrub grass. He was shaking with fatigue and pain now, as well as cold. Harsh wind sucked heat from his wet body. His clothes were already stiffening.

The lowest branches of the tree were five feet up the trunk. Christopher propped himself onto his left knee and grasped the deep crevices between chunks of bark. Finally hauling himself into a standing position, he kept his weight on one leg, hugging the trunk while he caught his breath.

It was incredible that he had survived all of this. The jump from the plane. The swim to the shore. The sort of thing they’d write about in world record books, or at least one of those “Strange, But True” articles. Really a shame then, that he would die of hypothermia after all that.

He thought he felt his shivering subsiding, though the creeping numbness made it difficult to tell. He knew that was the beginning of the end. Shivering meant the body was at least fighting for warmth. When it gave up the fight, you were really in trouble.

Now that he was on his feet, he wondered what good it would do him with one good leg. He probably wasn’t thinking clearly anymore. He probably hadn’t been thinking clearly at any point in this debacle.

He managed to move a few feet with a couple awkward hops, from the gnarled pine to the slanted rock face. He could see a deeper shadow among the rocks, an indentation in the side of the cliff that might offer some small shelter from the wind.

It was a little easier hopping along the wall, his left hand steadying him. The rock had fractured in fist-sized chunks, leaving plenty of handholds. He had to stop to breathe and recover from the pain between hops. Time was something theoretical to him now, not actually felt in any meaningful way. He had never been so exhausted. This, he thought, is what it feels like when all energy leaves the body. This is what it feels like to die.

The alcove in the rock, as it turned out, was deeper than he expected. It was more like a shallow cave. As he hopped inside, he found that he didn’t feel cold anymore. Probably the hypothermia, more than being out of the wind.

The little cave was the size and rough shape of a doorway, but it still came as a surprise to Christopher when he found a door set into the rock a couple feet inside. It was a very sturdy-looking gray metal door with dime-sized rivets around its perimeter. A thin strip of glass was embedded at eye-level, but it was covered with grime and frost. Christopher could see nothing but darkness behind it.

The door had a large handle embedded near the center, clearly intended to rotate. It was not dissimilar to the one Christopher had used to open the airplane door. A perfectly flat strip of rock had been cut away along the right side of the door, and embedded into this was a small box with little metal buttons bearing numbers from zero to nine.

“This must be the hallucination part,” Christopher whispered to himself. He normally made an effort not to talk to himself, but it hardly seemed worth it at this point. He jabbed a finger at the keypad, firmly pressing the “5” key in the middle. It depressed with a satisfying click, a bit like dialing an old pay phone. There was no readout or any other indication of the key he had pressed.
“The password isn’t ‘five’ then,” he muttered.

He was having a hard time keeping his eyes open. Even leaning against the door, he was barely able to stay upright on his one decent leg. Still, it felt right to make at least one attempt at the code before sliding into oblivion.

He decided that the code to his garage keypad was as good a guess as any. It was his birthday.

111183.

That was what he decided. Apparently his fingers had different plans. He was wavering. He observed that the code he entered was not the code to his garage keypad. It was not his birthday.

122, he observed.

199 followed.

There was the deep hiss of oiled metal on metal, followed by a surprisingly loud thunk behind the door. Christopher grasped the long handle with both hands and pulled. It held firm.

Good attempt, Christopher thought. “A” for effort.

A thick crust of dirt or ice broke free at the point where the handle connected to its axle, embedded in the door. The resistance gave way, and Christopher’s shoulder slid. The handle groaned, shedding the last of the caked-on gunk, and the handle rotated home, landing at the opposite end of its arc with another solid thump.

The door immediately swung open on huge, silent hinges. Christopher followed it, sliding, then falling. He landed, again, on his injured hip, but the pain was muffled in his fading consciousness. It was happening, but so far away. He rolled to his final resting position, on his back on some sort of smooth, warm floor.

The doorway was embedded a half-step up the wall, so that the door banged fully open, then ponderously swung over him, back the way it came. It blocked the faint light of the stars and moon beyond.

On the floor, in the utter blackness, there was nothing left to do. No more shore to find, no more tree to crawl to, no more strange doors or number pads. Christopher could stop. He could rest. He let go, and sank down, deep into the darkness.

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Reference Desk #11 —Writing Comics

I recently read two of Scott McCloud’s lauded books about comics: Understanding Comics and Making Comics. These books have been around for decades, but they hold up well. And when comics treatises are praised by the likes of Art Spiegelman, Jeff Smith, and Neil Gaiman, you can be pretty sure there’s something good in there.

I wouldn’t say I’m a full-on comics nerd, but I did work at a comics shop in high school, and I have a respectable number of comics on my bookshelf and e-reader. I know what I like and dislike. And while I occasionally dabble in visual arts like drawing and painting, I’m happy to be a semi-competent amateur when it comes to producing visuals. As a writer, I’m much more interested in the craft of writing for comics. That’s the perspective I brought to reading these books.

Understanding Comics

This book is, first and foremost, a comic. McCloud understands that the best way to describe the medium of comics is within the pages of a comic. He is an adept artist and writer, rendering his ideas clearly and gracefully, with a dash of silliness here and there.

McCloud has a style that appeals to my personal tastes — he loves to define and categorize. He describes the medium of comics by breaking it down into bite-sized pieces, then showing how those pieces can be combined to build new and interesting things.

First, he goes through pages of effort to justify his chosen definition of comics: “Sequential Art,” or more precisely, “Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer.” He gives a brief history of art that fits this description, from native Mesoamerican codices to the Bayeux Tapestry to Egyptian tomb paintings, and on into more modern examples. This may sound like dry academics, but it’s much more palatable in comic book form.

Next, he discusses iconography and the complex spectrum between words and pictures; how symbols can be more relatable than realism. He categorizes the ways that a reader infers movement across time and space between the juxtaposed images of a comic, in the “gutters.” He shows the ways that words and pictures can interact together to create unique effects within comics.

Finally, he finishes the book with a broad manifesto describing all art as a series of layers, with some art at the shallow surface level, and some digging deep into other layers. This ties into the comics stuff, but it’s more like his ideas of how to make great art.

McCloud is a great observer of comics. He describes many techniques that I’ve seen before, but his categorization and explanation allowed me to understand how they work, and what they’re good at. This book is not prescriptive, it’s descriptive: it’s a fantastic description of comics from his vantage point as an articulate insider.

Even though this book doesn’t describe comics in a “how to do it” manner, it’s incredibly useful for aspiring creators. It provides framework and language for understanding the medium. These are vital tools in the creator’s toolbox.

Besides, when it comes to creation, there’s a related book called…

Making Comics

Making Comics is another comic about comics. It takes many of the concepts from Understanding Comics and uses them as a foundation. This is much more of a how-to manual, split pretty evenly between visuals, words, and general storytelling principles.

Since my interest is in writing, not art, I skimmed some of the more technical parts related to drawing recognizable expressions and body language. I focused on the parts relating to writing, storytelling, and the way the words and pictures work together.

This book will be most useful to the indie comic artist, who wants to draw and write everything themselves, or perhaps writer-artist duos. McCloud does everything, so that’s the perspective he writes from.

There is a bit less in here for someone like me, who is only interested in the writing, despite it being a thicker volume than Understanding Comics. Still, Making Comics is a valuable book, worth reading if you’re interested in any aspect of comic creation. It solidifies some of the abstract concepts of the first book in more hands-on examples.

Am I an Expert Yet?

Reading these books didn’t make me want to immediately write a comic. But that’s a good thing. They do a great job showing how deep comics can go as an art form, and that’s a little intimidating. They showed me enough to realize I’d need to put in more effort before I think about starting a comics project.

I think my next step will be to re-read some of my favorite comics and analyze what makes them great. McCloud’s books have given me the tools to do that analysis. I know I like the stories, but how are they using the medium, the “juxtaposed images in sequence,” to tell those stories so effectively?

I also want to look for good examples of comics scripts, just to learn the ins and outs of formatting. I know there’s an annotated Neil Gaiman Sandman script in some edition or another of those books, and I’m sure there are other examples floating around. I get the impression that comics script format is a bit less rigid than TV and movie scripts.

As I continue to dig into writing for comics, I’ll come back and post more updates. If you have any interest, these two books are a great starting point. And if you’ve come across any other great resources for comics writing, let me know in the comments.