“Hard to know if it’s a neurosis or a survival characteristic.”
This is a tough nut to crack. You could say that I’m a Harrison fan – his latest short fiction collection You Should Come With Me Know was one of my favorite reads in 2017, and I liked the strange 2002 science fiction novel Light a lot. But aside the 15 pages of Doe Lea, I haven’t read anything else by him. The seminal Viriconium is on my TBR, as are the final 2 installments in the Kefahuchi Tract trilogy began with Light. I also found a second hand copy of his 1971 debut The Committed Men – a new wave post-apocalyptic story set in the UK, and a copy of The Centauri Device, an “anti-space opera” that influenced Banks & Reynolds. I plan to read all of those, but at my current rate it will take me years. Anyhow, if you are a bit familiar with the titles I listed, you’ll notice Harrison has an impressive range – I know few speculative writers who have such a varied output.
It is 2020 today, and it is clear M. John Harrison has covered a lot of millage as a writer in the 50 years he’s been writing publicly. His first novel since 2012, The Sunken Land Begins To Rise Again is published by Gollancz – which has published only science fiction and fantasy since its ownership changed in 1998. It’s maybe fitting Harrison’s new novel reconnects it to the company’s origin as a publisher of “high quality literature” too. The Sunken Land Begins To Rise Again is not science fiction. Speculative fiction could do, maybe, but I’d hesitate to use that moniker. Aside from a label that determines a potential reader’s expectations, the question of genre might not be important, were it not that Harrison seems to try and subvert every genre he writes in. A “failed allegory” perhaps?
This novel is a portrait of a lonely man and a lonely woman, both in some kind of anxious midlife crisis, both experiencing “a triumph of disconnection”, laterally entangled in some vague, batshit conspiracy, firmly embedded in London & Shropshire landscapes, sprinkled with a few weird, wrenched elements – but rest assured: those elements never dominate the story.
Harrison – undoubtly “a high-functioning romantic” like Victoria – mentions quite a few painters, paintings or prints. Aside from capriccios by Felix Kelly, and prints from John Atkinson Grimshaw and Eric Ravilious, he explicitly names The Red Rook (1948) by Gertrude Abercrombie, Sea Idyll (1887) by Arnold Böcklin, The Colossi of Memmon, Thebes, One (1872) by Carl Friedrich Heinrich Werner and Solar Eclipse in Venice, 6 July 1842 by Ippolito Cafi. Continue reading