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Or a cataclysmic earthquake, I'd accept with some despair
In which I shoot fish in a barrel.
As someone whose subway rides tend to resemble scenes from an "Evil Dead" movie, in which I am Bruce Campbell dodging zombies who have had all traces of their humanity sucked out of them by a sinister book—not the "Necronomicon," but "Harry Potter and the Deathly Hallows"—I sometimes wonder how any self-respecting author of speculative fiction can find fulfillment in writing novels for young readers. I suppose J. K. Rowling could give me 1.12 billion reasons in favor of it: get your formula just right and you can enjoy worldwide sales, film and television options, vibrating-toy-broom licensing fees, Chinese-language bootlegs of your work, a kind of limited immortality (L. Frank Baum who?) and—finally—genuine grown-up readers. But where's the artistic satisfaction? Where's the dignity?
Let that steep for a moment.
To its credit, "InterWorld" isn't sugarcoated for its readership; it wastes no time in putting its young heroes in mortal peril and pitting them against at least one brutal adversary who threatens to floss with their innards. But its prose is often only functional, and it has a slight problem of verisimilitude: are there really any high-school-age iconoclasts out there who have heard of synesthesia, Benoit Mandelbrot and the Midgard serpent, but not of Sid Vicious and Nancy Spungen?
Yes. In high school? Me.
May Dave Itzkoff be haunted by the shades of all the children's authors who died in this last year, except that he would not appreciate it.
As someone whose subway rides tend to resemble scenes from an "Evil Dead" movie, in which I am Bruce Campbell dodging zombies who have had all traces of their humanity sucked out of them by a sinister book—not the "Necronomicon," but "Harry Potter and the Deathly Hallows"—I sometimes wonder how any self-respecting author of speculative fiction can find fulfillment in writing novels for young readers. I suppose J. K. Rowling could give me 1.12 billion reasons in favor of it: get your formula just right and you can enjoy worldwide sales, film and television options, vibrating-toy-broom licensing fees, Chinese-language bootlegs of your work, a kind of limited immortality (L. Frank Baum who?) and—finally—genuine grown-up readers. But where's the artistic satisfaction? Where's the dignity?
Let that steep for a moment.
To its credit, "InterWorld" isn't sugarcoated for its readership; it wastes no time in putting its young heroes in mortal peril and pitting them against at least one brutal adversary who threatens to floss with their innards. But its prose is often only functional, and it has a slight problem of verisimilitude: are there really any high-school-age iconoclasts out there who have heard of synesthesia, Benoit Mandelbrot and the Midgard serpent, but not of Sid Vicious and Nancy Spungen?
Yes. In high school? Me.
May Dave Itzkoff be haunted by the shades of all the children's authors who died in this last year, except that he would not appreciate it.
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I still only the vaguest idea. Synethesia and Mandelbrot and the Midgard serpent, though? Oh, absolutely, and the Midgard serpent at least I knew of long before high school.
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Second grade. D'Aulaires' Norse Gods and Giants. The librarians kept making me return the book.
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I don't remember when I first read that, but I think it was fourth grade or so. I know that by fifth I was definitely hooked on mythology in general.
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That's a lovely book. I can see why you'd be giving the librarians trouble over it. ;-)
I only ever saw their Greek mythology book as a child, but the Norse stuff got in through half a dozen other books, none of which I can really remember individually, which may be a sign that it permeated my consciousness on a more elemental level than the Greco-Roman stuff.
This probably has nothing whatsoever to do with the fact that I'm more likely to swear in Anglo-Saxon than Greek.