Last
Tuesday night my wife and I attended a fantasy and science fiction reading
group at our local university. The topic
of discussion was Thomas Ligotti’s short story collection, Teatro Grottesco, (2007).
Given the location on campus, I expected to be in a room mostly full of
students and English professors.
Instead, I was pleased to see that our small gathering—about 9 people—was
a diverse collection of artists, programmers, health care professionals, a
librarian, and a technical writer. A
couple of people had some past association with science or technology, perhaps
aeronautics. We were homogenous in one
aspect: we were all boomers, with an
average age somewhere in the mid-fifties.
The reading
group, we were told, had been meeting every month, continuously, for 25 years. Some members had come and
gone, but most had been actively involved for several reading cycles, reviewing
a book or movie each month, all year round.
Over a snack that consisted of enormous cookies, peanuts, and dry
sherry, we took turns talking about what had intrigued us about Ligotti’s book.
Several
of our party immediately confessed having difficulty understanding some of the
stories in the collection, especially with respect to the motivations of
various narrators. Most of pieces are told in the first person, and determining
a clear plot and theme in many of the stories was a challenge. One member described Ligotti’s work “post-modern”,
full of self-awareness and frequent intentional violation of rules and expectations
about fantasy literature. Some of us
appreciated the poetic transmutation of dream material into vividly strange
images. A favorite one was the “organic”
factory depicted in The Red Tower,
with its mysterious roots spreading outward into town, invading the most
private spaces of the surrounding citizenry.
A few damned
the book with faint praise, claiming that the narrator in each story, à la
Lovecraft, was the same person, and
that a single tiresome theme, that of nihilism—“life
has no meaning”—permeated every story.
Some saw a connection between Ligotti’s nihilism and Lovecraft’s
cosmicism: both authors created characters
that passively accept their eldritch fates with resignation and little
struggle. One member was irritated with
Ligotti’s frequent repetition of entire sentences, and his equivocation and
vagueness with the concrete facts of his narratives. “And aren’t writers supposed to show, and not
tell?” he asked.
(Sigh)
To be
fair, as its name suggests, the Fantasy and Science Fiction Reading Group spends
most of its time reading and discussing science
fiction, and devotes only one month out of the year to a work of
horror. It may be that its sensibilities
are not calibrated to the nuances of effective horror fiction. Insofar as Ligotti relied on nightmares as
source material, preserving their internal logic, dark cohesiveness and
claustrophobia in his fiction, one would expect recurring images and phrasing
to emphasize the intensity of the experience, as well as an indeterminacy
or lack of concreteness that mimics the ever changing phantasmagoria of dream.
Nightmares
are usually lonely affairs, with rarely more than a few characters—and none at all if the terrified dreamer is
in flight from some predatory monstrosity.
Though in dreams we often hear words spoken, the intent of their meaning
is often completely different from the sentences they comprise. Yet the language used is internally coherent
and understandable in the context of the dream.
Language has a different function in dreams than it has in the daylight;
it may be that Ligotti’s prose at times mimics this condition. The author’s cleverness lies in being able to
convert a highly personal and subjective experience into something that can be
pondered as a universal condition of humankind.
One of
the items from the collection that was discussed at length was the titular
story, Teatro Grottesco. The opening paragraphs are intentionally vague
about the phenomenon of the same name:
“For a time it was all rumors and lore, hearsay and dreams.” As the story progresses, more is learned
about the nature of the Teatro Grottesco, but not much more—it seems to be
knowable only indirectly through the effects it achieves, which are
idiosyncratic to each individual it touches.
Its
principle aim seems to be the destruction of the creative impulse, to turn
artists into “working stiffs”, to distract people away from their original and
perhaps primary calling. This prompted
one of our group to compare the Teatro Grottesco to an understanding of evil
derived from Catholic theology, (possibly St. Augustine): that evil is not an active principle, not a
thing so much as an absence, an
emptiness or lack of some good that should be present.
However,
the story seems much more subtle and complex than this. What can be made of the bizarre vision of a
shrinking man who is viciously slashed in an alley by one of the artists? Who is the mysterious Dr. Groddeck with his
eyes—“which were the eyes of the Teatro”?
What are those “soft black stars” that begin to fill the sky at the end? Beneath the strange and disturbing imagery on
the surface move deeper and more perplexing currents.
The
afore-mentioned The Red Tower also
attracted comment. Several members of
our group noted the preoccupation with gastro-intestinal imagery in this story
and some of the others. An abandoned
factory that may still be operating, that has no obvious means of entry or
exit, and produces ghastly “hyper-organisms” is surely a powerful symbol of—what? Probably much
more than the usual suspects: exaggerated consumerism, the oppression of
the proletariat, the soul crushing experience of ceaseless and repetitive manufacturing.
One of
our group made the interesting point that a horror of factory jobs and
corporations may be generational, and may be fading, if not already gone. Younger people are unaware of the more
serious depredations of factory life in the previous century—they are likely to
see the return of manufacturing jobs as more of a boon and opportunity and less
as a depressing, life-long ordeal. Robotics
may also be altering this perception of factory life. As for corporate life, Ligotti’s perceptions
as expressed in various stories remain contemporary and insightful.*
Because
Thomas Ligotti was at one time a Michigander like ourselves—born in Detroit,
raised in Gross Pointe Woods, attended Wayne State, worked for Gale Research—it
was impossible not to look for some semblance of our state or its principle
city in the gloomy settings of his stories.
Was the encrimsoning of the
factory depicted in The Red Tower a
veiled reference to the struggling Rouge River Plant of the late twentieth
century? Were the household and
neighborhood depicted in Purity an
autobiographical recollection of life in some benighted Michigan suburb? (Probably not entirely; Ligotti’s stories are
necessarily devoid of details that would place them in any particular time or
place.)
All of
us seemed to agree that the best venue for reading a Ligotti story was in an
anthology of works by other authors, and
not in a collection. His unique and
disturbing vision may lose its power when placed side by side with the other
works of his, and read one right after the other. Most readers would avoid eating an entire box
of poisoned chocolates in one sitting; it would be ideal, safer, to make them last, to savor their toxic and disturbing
effects across several samplings. My
plan is to keep a stack of Ligotti’s books on hand for occasional gnawing,
especially on those tiresomely sunny days that are sure to come.
********************
*Compare almost any of Ligotti's nightmarish visions of working in a corporation with the article that appeared in The New York Times on Sunday, 8/16/15, ("Amazon's Bruising, Thrilling Workplace"). The article details the horrendous working conditions endured by employees, where endless data collection about individual performance creates a systematic and "purposeful Darwinism". Systems are in place to encourage employees to report on each other to management, work well into evenings and weekends, and sacrifice family life.
The enthusiasm for "big data" and its application to our personal lives has even—on a smaller scale— affected the church I attend: those who tend to the congregation's "Garden for Good" are now required to submit weekly figures on the weight of food donated to the poor, so that performance can be evaluated.
In a Biblical context, "This calls for wisdom. If anyone has insight, let him calculate the number of the beast, for it is man's number..." (Revelations 13:18). To the extent that Amazon becomes a model for corporate management everywhere, these developments are unsettling.
Another book of Ligotti’s, My Work Is Not Yet Done (2002) was discussed in an earlier post—see also Corporate Nightmares. My enthusiasm for corporate life—following the acquisition of my own company by a much larger one—has waned somewhat since I wrote that piece.
The enthusiasm for "big data" and its application to our personal lives has even—on a smaller scale— affected the church I attend: those who tend to the congregation's "Garden for Good" are now required to submit weekly figures on the weight of food donated to the poor, so that performance can be evaluated.
In a Biblical context, "This calls for wisdom. If anyone has insight, let him calculate the number of the beast, for it is man's number..." (Revelations 13:18). To the extent that Amazon becomes a model for corporate management everywhere, these developments are unsettling.
Another book of Ligotti’s, My Work Is Not Yet Done (2002) was discussed in an earlier post—see also Corporate Nightmares. My enthusiasm for corporate life—following the acquisition of my own company by a much larger one—has waned somewhat since I wrote that piece.
No comments:
Post a Comment
Thank you for your interest in The R'lyeh Tribune! Comments and suggestions are always welcome.