So here's a bit of near-future SF. Rocky's favorite sort. Looking years ahead is a lot harder than looking ahead millennia or even centuries, where extrapolations don't have to be so tightly bound to the present and always seem to tend toward either apocolypse or fantasy. But here in Strina's Walls and Strangers cap, the future's so at hand, Rocks isn't altogether sure it's even SF. It seems like it's set a little downhill from here, but maybe it's not. Maybe it's now. Maybe somewhere cemeteries are already structured like high-rises, beehive hotels for the dead. Mass graves, but piled instead of dug, and better organized. That there's no pretense at science is, ironcially, a hallmark of some of the best science fiction.
Reading evoked a kind of Munro/Atwood vibe. The prose is delicious, at times almost too delicious for Rockyfeller's increasingly facile tastes. Until now, he'd never have thought too many similes, especially similes that augment a story's themes as they do here, would have been possible. Some, like "Mauro took note of the disappearance of her thin lips as a snake would of the impending signs of an earthquake," bewlidered. Others, like "He had always found orchids to be somewhat obscene, like little piles of uncovered vaginas," aroused... as in totally non-creepy literararily appreciative arousal. Well... maybe not totally.
It's a handful of stories that cover love's gamut. That Rocks got a little confused trying to sort out all their threads probably attests to his waning mental acuity rather than any weaknesses or neglect in the writing. The ending came a little out of left field, but still satisfied. What's important (spoiler alert: kindness) stuck. Should this ascend here into the highest cage, The Monkey will not have to stick its germ-laden fingers much into it. All Rocks saw was one almost obsessively compulsively little nitpicky "a while" that should've read "awhile" (the other "a while" is used correctly).
Overall, a beautiful, intelligent and affecting work. Yes.
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Re:WALLS AND STRANGERS
Date: 2017/10/18 16:05
The Bull is an action kind of bovine, so this cap was a little difficult to chew. That being said, I gave it my all. (No mocking the Bull for getting a little deep on this. It’s been that kind of week.)
This cap was linguistically beautiful, despite a number of typos. It has an unusual, ethereal quality that is not common when discussing a topic as visceral as death. The pervasive theme of flowers added to the airy feel of this cap.
The tense changes are interesting, present for the past, past for the present, almost making you question what reality is. Where do we live? Are we mired in the past or do we press forward in the present? Technically we all live in the past, as our senses and mind’s processing add a delay to the events that occur day to day. This cap reminds us of how cemented we are to our personal histories and how doomed we are to repeat the same patterns throughout our existence.
What is life? Who is real? How can we love? This cap pivots on these very questions. Are emptiness and longing our default setting, or can we hope for something more? This cap delves into these concepts and wraps it up in a copy of “A Streetcar Named Desire.”
Like Rocks, I found myself lost in the mire of prose. However, after digging through the dirt, I found the way. While this is normally too much work for my comic book laden brain, I did find this worthy of a higher level review, so yes.