There is a shortage of book talk on this blog, and it's a shame considering that I do read them as well as write them, I really do. In fact, even before the process began of researching agencies, which in itself prompted me to begin reading a wide variety of books strictly to see what else was out there, I had a pretty good backlog of books that I wanted to not so much review here but highlight. An earlier post from August of 2011 emphasized what "inspired" me about Andrew Davidson's novel The Gargoyle, for instance, and this is what I plan to do here with this small handful of books in this my first multi-image post!
I'll start with the most recent, Dean Koontz's 2005 novel, Velocity. And most all of the reviews that I've read and even watched on YouTube say the same thing about this book, that the book's title says it all, with a story that is for the most part in real time as it races through only a few days in the life of our unfortunate hero. While being put to the task of choosing the victims of a killer through a series of notes and riddles, I was at first put off by the fact that I had stumbled onto another crime story, but then I was inspired above all by how much fun Koontz was having with the material.
Which takes me to the previous book I'd read, Richard Laymon's 1986 horror novel The Beast House, which is actually the second book in his Beast House Chronicles series. Here, I was treated to a book much like one in which I would structure, complete with multiple viewpoints and motivations and cinematic descriptions of the action that all added up to a novel that read very much like a "grindhouse" monster movie. I read this one during breaks in the morning hours and the Koontz book at night, and I suppose I lucked out, because they both sustained my attention and proved to be good picks to double-up with from our very own bookshelf at home.
Going back now a few months, I dove into the world of Joe Hill, and I did this first with his 2010 dark-fantasy novel Horns. Here I was impressed with much of the same things that I had admired about The Gargoyle, which was that there was really a minimal amount of plot in favor of character and insight that leant itself more to the genre of literary fiction than to horror. Our hero wakes up one morning from a drunken night with horns on his head, and why and when this happens is explored in a bit of an abstract and allegorical way, which in my opinion is perfectly acceptable.
But in Hill's previous outing, the 2007 straight-up horror novel Heart-Shaped Box, an aging rocker purchases a suit of a dead man that carries with it a vengeful ghost. This one was more accessible as it dealt with a situation, the premise of the suit itself being haunted, and it was explored and carried out in a satisfying if not poltergeist-bright-and-flickering-lights kind of way. Hill is the son of a lesser-known horror writer with the surname of King.
Which brings me to the novel with which I started the year, Anne Rice's 2012 return to her Gothic roots, The Wolf Gift. As you can guess, this is an exhilarating exploration of the wolf man (or, as she prefers to call it in the book, the "Man Wolf") myth, and it begins what will soon be another series by the author that started the inside-out re-imaginings of the legends of horror. I am still thrilled to have been called out by Ms. Rice herself on this blog regarding an early and speculative post about this very book, and it can be found here on the sidebar as my most-popular post to date.
Thanks, Anne, not just for the shout-out but for basically starting this whole writing thing that's consumed me since your 1976 novel Interview With the Vampire. But that's a love letter for another post. This was about books that have inspired me, about what I've learned about the genre that my books may or may not fall into, and about how I should move on in the new year with the business of being Ted Torres.
And she really does have the authority, doesn't she? When one stops to think about it, after she single-handedly provided the modern vampire fiction blueprint with the publication of Interview With the Vampire, it's almost unheard of to know that she's gotten little to no credit in the wake of the not-so-recent-anymore vampire craze that finally may be showing signs of stopping. Rice, in fact, has been quite vocal when it came to Stephanie Meyer's Twilight series, criticizing among other things the idea that Meyer's immortals inexplicably felt that it was necessary to attend ... high school. It's the stuff that's made Rice fans like myself furious in a way that one gets when they watch someone take credit they didn't deserve, especially when the real credit may go to a friend or a family member, or in our case, an author that you think of almost as family! It's like hearing someone claim to invent a brand when in all actuality, the brand exists because it's being targeted to a market that had no prior knowledge that the brand already existed! Vampires have become afterschool specials and we're all sick of it, and apparently, so is Anne Rice.
It's no wonder that she's given up on the genre for the time being and has instead moved on to werewolves with the February 2012 release of The Wolf Gift, a book that I guarantee will redefine the mythology. And I haven't even read it yet. I don't have to. That's just what she does. She turns legends inside out and fills in the holes that have existed for centuries. She did this reworking with vampires, witches, mummies, an ensemble of ghosts (most all of whom were from New Orleans, by the way), oh, and a marginal literary character by the name of Jesus Christ. And guess what? Anne Rice is about to do it again, readers, and no one has earned the authority to do so more than she has.
I've also seen recently that Anne Rice's Christ the Lord: Out of Egypt is being adapted into a film to be directed by Chris Columbus, and I may have this wrong, but it looks as though she may have some casting pull this time around. This, as some of you may remember, is a far cry from when Tom Cruise was cast as Lestat in the film version of Interview, a complaint that she later retracted, but one that I suspect kept her out of the creative meetings that resulted in the horrendous 2002 film adaptation of Queen of the Damned.
I certainly hope that this is the case, which would give Anne Rice the "author"-ity that she has deserved from Hollywood for well over thirty years now, taking her place as the reason why vampires are still around to make sparkly and send to proms.
Greetings from Key West, Florida.
Been here for three days now, performing nightly with my band at Sloppy Joe's Bar, the alleged place where Ernest Hemingway tied quite a few on in his day. But if you eavesdrop on one of the tour trams that pass every now and again, you learn that the original Sloppy Joe's, and Hemingway's liver, have remnants further down the block in an entirely different location. But I digress. Key West has gone off my radar as far as rants go. It is what it is, and I'm here first on business, and second, to get lost in my imagination for a solid week.
Which brings me to this post, which was inspired by a Twitter feed in which a fellow writer blogged about their influences. I'd never thought to do that myself, usually reserving that information for when I was a drinker and would talk many an ear off about literature and writing and the best of both. But those days are gone, and with it went the bravado of a loud drunk. Nonetheless, I'd like to take this time to mention the latest book I've read (pictured above), which I found very inspiring for reasons I'll explain, and then say a little something about what influences me as a writer.
First and foremost, I have to mention the Queen of the Damned herself, Anne Rice, my surrogate mother of letters and inspiration to this day. Her contemporary fiction is what put me on the path of the novel as my primary means of storytelling, and I admit it without shame that she has been most all I've read in that field to date. I can't remember the last book I've read (fiction, mind you) that she hasn't written, with the exception of one (again, pictured above). I just recently saw a YouTube video of her in her little office in the California desert, and it made me think about perseverance. Anne used to live quite the extravagant lifestyle in New Orleans, but apparently lost all of it due to bad investments and a crashing real estate market. That information came from a separate interview I read recently, but when I put it all together, it made me think, "I can and will write everywhere." Anne used to write in a Garden District mansion, and now, by the looks of it, she writes in a small room in a suburban California condo.
Now, before I go further off track here, let me mention The Gargoyle by Andrew Davidson (that's right, pictured above), a wonderfully written and structured book that inspires me in its simplicity. I'm sure Mr. Davidson himself would not be so kind with my calling his work "simple," mainly because according to the background information on him, the novel took seven years to write. But the book is simple only in the fact that it manages to carry two story threads framed in a plot-space that is really uneventful. Without reviewing the book, I just want to make the point that it showed me how less can absolutely be more, and Davidson is very much akin to my approach. It's vivid, beautiful, and internalized in the Romantic tradition.
Back to what inspires me, I have to mention the very same Romantic tradition, more specifically, the English Romantics of the eighteenth and nineteenth century. Even more specific would be the second generation led by Byron, Keats, and Shelley. It would be downright weird for me to claim that as a novelist I was influenced by them stylistically, being that they were poets. But their philosophies are what molded me, and the study of their time and work is what gave me the Promethean flame that I write so much about. That flame, in my opinion, was carried centuries later as the writers of the Beat Generation -- another great influence on my work -- internalized their passions and made the written word like new, post-World War II monuments of expressive achievement. William S. Burroughs, Jack Kerouac, and Allen Ginsberg truly believed they were changing the world, like the English Romantics before them, and in a way they did. Only it was the world inside.
Yes. The world inside. Writers can't move into any other words unless they're satisfied with the one inside.
That is what inspires me. What inspires you?
I wanted to post a little something here about Buddhism Without Beliefs by British author, teacher, and self-proclaimed "secular Buddhist," Stephen Batchelor, because the book always seems to become relevant in my life when I least expect it. I bring it up now, for instance, only because mention of the book had to be edited out of my current manuscript for reasons of extraneous detail. But there it is again, on my mind, and here it needs to spill.
I first came across the book about ten years ago while working at Barnes & Noble during a semi-lucid morning shift, shelving books in the "Eastern Religions" section. The mere appearance of the book caught my attention -- a light yellow sliver of a volume shoved between the other books like a forced card. I grabbed it and started flipping through, and hours later, I had bought my own copy and was making notes in the margins, notes on Batchelor's stripped-down overview of Buddhism that set me on a course of study for the next couple of months.
For the writer in me, the Buddhist idea of the reorganization of perception was akin to both the English Romantics of the nineteenth century, and the writers of the Beat Generation in twentieth century New York, both literary movements having been a tremendous inspiration on my own writing then and now. I thought, Something had to have set Jack Kerouac and Allen Ginsberg off on their spiritual journeys, right? Now it was my turn.
Granted, I never went so far as to proclaim myself a practicing Buddhist (although I did experiment with Batchelor's process of mediation), but I cannot deny that the easy-to-understand explanations of a religious system that, according to Batchelor (strictly from his agnostic perspective and in no way meant to insult traditional Buddhism), is more of an internalized modification method than a religion, and it has stayed with me to this very day. A particular highlight for me was the section on "Compassion," and how mastery of this emotion through basic and solid reasoning (Batchelor's walk-through of how to understand a perceived "enemy" is nothing short of revelatory) is not only essential to the human condition, but is a common thread of all religious systems to which most of the Western world adheres. Want to understand why you should love your enemy instead of just doing it because a man named Jesus said so? It's all there.