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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.
no subject
In the late 1970s, Sid Vicious was the bass player for the Sex Pistols, who acheived immortality through one of the greatest performances of "My Way" ever done, which is saying something since he had no musical talent whatsoever (although he did possess a genius for giving offense).
Nancy Spungen was his girlfriend, who had serious emotional problems and dreamed of being Debbie Harry. The two of them became addicted to heroin and embarked on a self-destructive spiral downward that led to him stabbing her to death and then later dying himself of a drug overdose.
They have since become the poster children for just how awful drug addiction can be, and as a tragic case of lovers who should have gotten help but didn't, in part because they had a sad sort of celebrity to maintain.
If you want to see a brilliant movie about the whole thing, go and rent "Sid and Nancy". Just remember to bring along a bottle of prozac.