Top positive review
Essays about reading and writing in the hinterland of the literary domain--i.e. comic books, fan fiction, YA
Reviewed in the United States on February 7, 2017
This book consists of 17 essays about reading and writing. As the book’s title--also the title of the second essay--suggests, there’s an analogy drawn between story and a map, but—more importantly-- Chabon proposes that the literary domain is a realm with frontiers and hinterlands. The central theme is that there is room for great discoveries if we stray from the center of the map were all is clear and well-defined. Literary fiction is the center. The hinterlands include a range of genres and approaches to story-telling that are often maligned as low-brow—e.g. fan fiction and comic books.
The book could be split into two parts, though the aforementioned theme cuts across all essays. The first 11 essays offer insight into maligned genres and their merits, but the next five shift gears into autobiographical telling of Chabon’s transformation into a writer. (The last essay, not present in some editions, could be seen as an epilogue to the entire work.) I’ll list the essays and give a hint about what each is about:
-“Trickster in a Suit of Lights”: This essay invites us to reconsider the connection between entertainment and literature, and in particular with respect to the modern short story.
-“Maps and Legends”: Here Chabon reflects upon the nature of a map and its analogy to the domain of fiction.
-“Fan Fictions: On Sherlock Holmes”: Fan fiction is maligned, and not entirely without reason. Even when it achieves great popularity, it’s often bad (e.g. “Fifty Shades…”) However, Chabon correctly suggests that we consider fan fiction too narrowly, including only that which reinforces our notions. He offers a great example of a character, Sherlock Holmes, who launched a thousand fan fictions, some of which are masterpieces in their own right.
-“Ragnarok Boy”: Mythology often seems tired and cliché, but there are reasons such stories survive across ages. Chabon explores what it is in Norse mythology that makes it an ongoing font of inspiration for writers.
-“On Daemons & Dust”: For a while, YA was the only genre with rising sales--much to the chagrin of those who felt this might herald the rise of a real world idiocracy. In this essay, Chabon describes what it is about Philip Pullman’s “His Dark Materials” series of fantasy books that pulls readers in—including the appeal of dark elements in stories.
-“Kids Stuff”: In this essay, Chabon considers the comic book and its evolution from kids’ stuff to a vast domain meant to appeal to a broad readership.
-“The Killer Hook”: This essay continues Chabon’s look at comic books, but through a specific example: “American Flagg!” a dystopian sci-fi comic book. Chabon proposes that “American Flagg!” spawned a new approach to comic book art and tone.
-“Dark Adventure”: This is about Cormac McCarthy’s “The Road.” Some topics are revisited, such as the appeal of dark and dystopian content. [For those unfamiliar, “The Road” is the story of a father and son wandering through a post-apocalyptic wasteland in search of some sort of stable community. McCarthy is the master of sparse prose, eschewing dialogue tags and maintaining a minimalist approach to his craft.
-“The Other James”: Here Chabon discusses the ghost story, using M.R. James’ story “Oh, Whistle, and I’ll Come to You, My Lad” as an exemplar.
-“The Landsman of the Lost”: Chabon discusses the comic strip work of Ben Katchor.
-“Thoughts on the Death of Will Eisner”: Eisner was a popular cartoonist, associated with such comic books as, “The Spirit.”
-“My Back Pages”: Here the book ventures into autobiographical territory as Chabon talks about his first dalliances with writing a novel.
-“Diving into the Wreck”: This continues Chabon’s telling of how he came to be a writer, and his early troubles in structuring a novel.
-“The Recipe for Life”: Here Chabon tells us about his introduction to Golems, a concept that would play an important role in one of his most influential works—an in the rest of the book. You’ll note the connection between fantastical devices and the telling of story that carries over from the first part.
-“Imaginary Homelands”: Chabon describes the role that is played by culture in forming a writer’s experience—both the culture one is living in and the cultural heritage that we each carry with us wherever we may roam.
-“Golems I Have Known”: This is one of the longer pieces and it presents the climax of Chabon’s tale of his transformation into a novelist. Golems as fictitious creatures built to facilitate certain truths are a central feature around which Chabon’s story is told.
-“Secret Skin”: [Note: This essay didn’t appear in the initial version of the book, and so your edition might not have it.] This essay invites the reader to reconsider the role that costumes and secret identities play for superheroes and how that need resonates with readers. In the process, this last essay sums up the reason why fantastical elements are so powerful in fiction.
There are only few graphics in the book, i.e. comic panels. Other than that there’s not much by way of ancillary matter, though there are recommended readings (oddly) interspersed within the index—rather than being a separate section.
I’d recommend this book for readers and writers. The essays are well-crafted and thought provoking.