"We are all in the gutter, but some of us..."
Taking Trash Seriously.
"...are looking at the stars."
-- Oscar Wilde
January 25, 2007
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This site is updated Thursday afternoon with a new article about an artistic pursuit generally considered to be beneath consideration. James Schellenberg probes science-fiction, Carol Borden draws out the best in comics, Chris Szego dallies with romance and Ian Driscoll stares deeply into the screen. Click here for their bios and individual takes on the gutter.

While the writers have considerable enthusiasm for their subjects, they don't let it numb their critical faculties. Tossing away the shield of journalistic objectivity and refusing the shovel of fannish boosterism, they write in the hopes of starting honest and intelligent discussions about these oft-enjoyed but rarely examined artforms. Contact us here.


Recent Features


Alan Moore Knows The Score

LEG Century 80.jpg“It's nice to hear all the old songs, isn't it?”

--the Devil, The Black Rider

I was surprised to hear the old songs in Alan Moore and Kevin O'Neill's The League of Extraordinary Gentlemen Century: 1910 (Top Shelf, 2009). I probably shouldn't have been. The chapter title, “What Keeps Mankind Alive” distracted me, but I kept reading my water-damaged copy and ran smack into, “Mack the Knife.” Like the chapter title, it's a song from Bertolt Brecht and Kurt Weill's The Threepenny Opera.

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Breaking into the Business by Being Really, Really Disturbing

waspfactory-small.jpgDisturbing as hell, an elegantly constructed first-person plunge into the mind of a maniac, a teenager who murdered kids when he was a kid (and got away with it), and now has elaborate rituals that mostly involve killing small mammals. As a first novel, that's one way to make a splash - The Wasp Factory by Iain Banks is a debut from 1984, famous for its controversial events and intense narration. I'm always a little suspicious of controversy though - is the book worth anything outside of the scandal associated with its "shocking" content?

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I Got 99 Problems But a Bitch Ain't One

weefab.JPGSarah Wendell and Candy Tan occupy some interesting real estate in the romance world; a previously untenanted corner of Innernet and Romancelandia. Smart Bitches, Trashy Books is a different sort of headspace when it comes to a website about Romance novels.  It's frank, forthright, and not above fart jokes. 

Wendell and Tan don't just review novels, they also subject them to analysis, and praise or pan them as the situation requires. They demonstrate an unquenchable and exuberant love for the entire genre, while acknowledging - and even celebrating - its most ridiculous excesses. They've amassed an interesting and intelligent readership who tune in for the commentary and stay for fun. They even popularized the ever-useful phrase ‘man-titty’ as a descriptive aid in the discussion of cover art.  And now the original Smart Bitches have written a book of their own: Beyond Heaving Bosoms: The Smart Bitches’ Guide to Romance Novels

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All-Star Childhood Memories

by James Schellenberg

Going back to the books that blew my mind as a kidNowadays I can pick up any pop cultural obsession that I want - hey, it's the internet age and my nerdy disposable income goes a long ways. But when I was a kid, it was almost always hard to find cool stuff.

I ended up reading a whole lot of crap, since I didn't have as much control over what I could find. In a situation like that, the formative moments are not always the ones you'd want them to be, looking back as a grown-up.

I was persistent enough, though, to find a few gems along the way, like Patricia A. McKillip's The Riddle-Master of Hed.

That's the first book in a trilogy, and all three books are memorable. The first book, from the year 1976, was followed by Heir of Sea and Fire a year later, and the saga concluded with Harpist in the Wind in 1979. All three are short, as far as trilogies go - all told, the trio clocks in at under 600 pages. Most epic fantasies take up that much space in a single volume!

In the first book, a young prince of Hed, Morgon, is trying to go about his life as the leader of a small island full of farmers. But he has three stars burned on his forehead, and in a world where an unanswered riddle is easily fatal, no one can answer the question posed by the strange markings.

The first book is an introduction to the world, but also a kind of abstract story. Constant danger surrounds Morgon, but it's not always clear where it's coming from or why. That puts us in sympathy with Morgon, since he's in the process of figuring out what's going on too.

The Riddle-Master of Hed is atmospheric and furnished with some imaginative magic, but a bit standard, complete with a magical young man growing up. Standard, at least until the ending! The first book concludes with a cliffhanger that frightened the heck out of me as a kid and that I still found quite chilling when I re-read it.

What's more, instead of bogging down in the second book like most fantasy trilogies do, McKillip uses the cliffhanger of the first book as an opportunity. Heir of Sea and Fire leaves our standard male hero dangling and picks up with a woman named Raederle. She and Morgon are destined to be together, but she's not really waiting around for her white knight. The second book is mainly about Raederle's efforts to find Morgon, and then the third book is about their partnership, which is not treated as protagonist and sidekick, but rather a duo of powerful people. Smart stuff, and it makes the trilogy tightly constructed, with two character arcs that then merge to form third. It's not entirely balanced but it's much more so than most fantasy stories.

Going back to the books that blew my mind as a kidI remember liking the cover artwork of the original hardcovers, and seeing them again felt like digging up even older primeval memories than re-reading the books. These images are lodged pretty deep in my brain. See the cover of the original hardcover to the right -- it's got narrative and atmosphere at the same time.

In the introduction to the 1999 omnibus edition, McKillip talks about how Tolkien hit her like a bolt of lightning. But you would hardly know it from this book: on the scale of slavish Tolkien imitations, this one hardly registers. There might be a prophecy and a map, but all else is entirely McKillip's own marvellous work.

That's ironic praise, considering what I'm about say next: her prose and plotting have a tendency to the elliptical. Elliptical is a polite way of saying "obscure" for the books that don't work, and "intriguing" for the ones that do, like The Riddle-Master trilogy. These gaps are artfully done, just like everything in her novels, and they make her books very unique.

All the same, I have to confess that I haven't kept up with McKillip's recent books. Her love of the elliptical has only intensified, and I've found the plots a little too puzzling for me. If this is your fancy, that's great. In fact I'm thrilled that there's a writer out there who isn't churning out the same fantasy crap. In this particular case, it's a road I can't follow.

This article is the first in an informal series I'm planning: to revisit the books that I read as a kid to see how they hold up. Next month I'm going to re-read Robin McKinley's duo of books, The Hero and the Crown, the second book I ever bought with my own money, and The Blue Sword, the first book I ever read with a sex scene in it!

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Did you read McKillip a long time ago? Any other classic memories from childhood? Email James or add a comment below.

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Loved the trilogy, love McKillip in general. Every few years I re-read the trilogy, because I can't remember what happens at the end. Not the plot so much: I can't remember if the ending is happy or tragic. Then I read it again and think, "Oh yes, that's why I can't remember." Genius.

—Chris S.


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Loved the trilogy, love McKillip in general. Every few years I re-read the trilogy, because I can't remember what happens at the end. Not the plot so much: I can't remember if the ending is happy or tragic. Then I read it again and think, "Oh yes, that's why I can't remember." Genius.

—Chris S.

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Of Note Elsewhere
"Geisha is Robot." Geisha fight samurai, giant temples and lady tengu. Geisha also transform.
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Mladen Sekulovich, aka Karl Malden, has died at 96. He was in many, many entertainments, including Meteor, the legendary 1970s cop show The Streets of San Francisco, some very respectable films and many, many Westerns like How The West Was Won, Nevada Smith and One-Eyed Jacks. Obituaries here, here and here.

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In support of my latest Screen article, there's nothing disappointing about these re-imagined posters by Olly Moss. Or x-factor-e's De Niro stream. Or the endlessly entertaining Film the blanks (Sudoku for film geeks).
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Champion Mojo storyteller Joe Lansdale talks about what makes him a champion: a crazy number of upcoming stories, a Jonah Hex animated short and his mighty understanding of the publishing industry.(Thanks, Chuck!)
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"If the post-"Crouching Tiger" boom in Asian cinema was an irrational, Dutch-tulip-style bubble, then the virtual disappearance of Asian films from American screens is an equally irrational overcorrection." Andrew O'Herir interviews Grady Hendrix (NYAFF and formerly Kaiju Shakedown), Keith Allison (Teleport City) and Todd Stadtman (4DK) about corrections, industry incompetence and piracy.
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