Nate D's Reviews > Dhalgren
Dhalgren
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Nate D's review
bookshelves: post-modernism, read-in-2009, dystopiary, favorites, 70s-delerium
Aug 19, 2009
bookshelves: post-modernism, read-in-2009, dystopiary, favorites, 70s-delerium
Revision.
This might turn out to be one of those reviews I write over and over.
Perhaps such a novel -- equal parts fine-focused lens, social/personal mirror, and harshly distorting prism -- just demands this endless rethinking.
So what is Dhalgren?
It is a deft cultural analysis, part perfectly current, part more dated 60s/70s scrutiny that is nonetheless perceptive and interesting.
It is a probing of time and perception laid out in dilating asymptotic fade contracting sudden into action. Or perhaps a mobius strip whose returning loop falls away infinitely. Or perhaps infinite loops gathered in a singularity.
It is the story of a city that falls appart in unclear crisis, tears a hole straight through America, and becomes a dreamlike non-place: smoke-swept, flame-licked, partially abandoned and wholly forgotten, socially volatile and facilitative and instructive.
It is a narrative labyrinth whose many questions and vaguely suggested answers, in the way of many such intricate dream-voyages, are less interesting and significant than the paths traced between them by the vivid raw conjuration of the words and action.
Delany is full of (and unafriad to face) Big Ideas. He's also a fantastic and versatile prose stylist. He's also extremely readable. There are admittedly some less vital slumps, but the peaks are precipitously high (as in the near-perfect novella of a third act "House of the Ax"). And even those slump sections seem accounted for by Delany's designs -- I feel like the plot structure models physics equations, as the action approaches an asymptote at one point, then punches through a discontinuity into the infinite before flipping back around. All this evades me slightly still, it is too big to be fully glimpsed at once, a novel bursting with the force and potential of fiction.
And as an aside: I often refer to The House of Leaves as "applied post-modernism", for its meshing of decades of formal and conceptual developments with brisk and frequently gripping genre toying (itself a hallmark of post-modernism, I suppose). But Delany's sprawling social treatise accomplished a similar feat 25 years early, complete with layered symbology and layered typographical/narrative mysteries.
Echoes back: to Borges and probably a bunch of groundbreaking 60s new wave sci-fi I haven't read (suggest please).
Echoes forward: to early Lethem (particularly Amnesia Moon), and usual canon-aware suspects Danielewski and (D.F.) Wallace.
This might turn out to be one of those reviews I write over and over.
Perhaps such a novel -- equal parts fine-focused lens, social/personal mirror, and harshly distorting prism -- just demands this endless rethinking.
So what is Dhalgren?
It is a deft cultural analysis, part perfectly current, part more dated 60s/70s scrutiny that is nonetheless perceptive and interesting.
It is a probing of time and perception laid out in dilating asymptotic fade contracting sudden into action. Or perhaps a mobius strip whose returning loop falls away infinitely. Or perhaps infinite loops gathered in a singularity.
It is the story of a city that falls appart in unclear crisis, tears a hole straight through America, and becomes a dreamlike non-place: smoke-swept, flame-licked, partially abandoned and wholly forgotten, socially volatile and facilitative and instructive.
It is a narrative labyrinth whose many questions and vaguely suggested answers, in the way of many such intricate dream-voyages, are less interesting and significant than the paths traced between them by the vivid raw conjuration of the words and action.
Delany is full of (and unafriad to face) Big Ideas. He's also a fantastic and versatile prose stylist. He's also extremely readable. There are admittedly some less vital slumps, but the peaks are precipitously high (as in the near-perfect novella of a third act "House of the Ax"). And even those slump sections seem accounted for by Delany's designs -- I feel like the plot structure models physics equations, as the action approaches an asymptote at one point, then punches through a discontinuity into the infinite before flipping back around. All this evades me slightly still, it is too big to be fully glimpsed at once, a novel bursting with the force and potential of fiction.
And as an aside: I often refer to The House of Leaves as "applied post-modernism", for its meshing of decades of formal and conceptual developments with brisk and frequently gripping genre toying (itself a hallmark of post-modernism, I suppose). But Delany's sprawling social treatise accomplished a similar feat 25 years early, complete with layered symbology and layered typographical/narrative mysteries.
Echoes back: to Borges and probably a bunch of groundbreaking 60s new wave sci-fi I haven't read (suggest please).
Echoes forward: to early Lethem (particularly Amnesia Moon), and usual canon-aware suspects Danielewski and (D.F.) Wallace.
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Reading Progress
August 19, 2009
– Shelved
Started Reading
September 1, 2009
–
Finished Reading
December 29, 2009
– Shelved as:
post-modernism
January 19, 2011
– Shelved as:
dystopiary
January 28, 2011
– Shelved as:
favorites
June 9, 2011
– Shelved as:
70s-delerium
March 1, 2017
– Shelved as:
read-in-2009
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I was astonished to notice that you hadn't read this already actually, when I first picked it up (from Lucy, in fact). It seems like something you'll be interested in, if not necessarily captivated by. (but maybe captivated too).
I usually don't read books I think I'll like because I'm always disappointed.
Case in point Stranger in a Strange Land.
I stand by that bold statement.
Case in point Stranger in a Strange Land.
I stand by that bold statement.
The bold statement of not reading books you expect to like, or not liking Stranger in a Strange Land?
Well, I pretty much entirely agreed with you on the latter. Heinlein seems to have aged pretty terribly, from what I've read. But then, I'm not too big on Asimov either so maybe it's just that generation in general (excepting, maybe, Bradbury).
Regardless, Delany, here, is more interesting to me than anything I've read from any of those pillars of classic sci-fi.
Well, I pretty much entirely agreed with you on the latter. Heinlein seems to have aged pretty terribly, from what I've read. But then, I'm not too big on Asimov either so maybe it's just that generation in general (excepting, maybe, Bradbury).
Regardless, Delany, here, is more interesting to me than anything I've read from any of those pillars of classic sci-fi.
Huh. Yep. I guess that shouldn't be too surprising given that I've been recently particularly enjoying Czech New Wave cinema as well. It was a good period for innovations in many places and mediums, I guess.
Also, from the wiki article, it's good to know that we have Harlan Ellison to blame for the phrase "speculative fiction".
Also, from the wiki article, it's good to know that we have Harlan Ellison to blame for the phrase "speculative fiction".
Oh wow. Wow. This sounds incredible, and fits right in there with Ice I'm guessing? Adding this one, I'm surprised this one isn't more well known as well.
Pretty different, but also amazing. The setting especially -- an ordinary american city after an unknown or unspoken disaster, always burning, chronology in question, society either stripped away or maintaining absurdly against changing times (it's very sociological to its times, but says really interesting things about them). And then pulls out all the post-modern stops. It's great, definitely essential.
Ha, awesome. That's like a double sell with the post-modernism. This has an all 5-star line-up on my friends list so I'm going to have to read it. Can't wait to discuss it when I do!
Delany' most sustained project to which Dhalgren appears temporally as a direct forbearer is "Some Informal Marks Toward The Modular Calculus"--sustained across Triton and his Neveryon Tetralogy. I am honestly surprised at the Barth/Borges crowd who arent privy to this genre-bending endeavor of long-game philosophical meta-text.
Lots seem to be. The genre-bending et al. didn't do much for me, more so the little observations on human behaviour, which reading Amy Bloom taught me how to do from memory, though he specifically is nonpareil thereat.
This sounds like a book I'd like, I have a 70's paperback copy I've been meaning to crack open in the fall/winter.