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The Severed Streets by Paul Cornell
Feb. 12th, 2015 04:21 pm3/5. Urban fantasy London cops sequel to the well-received London Falling.
People I follow almost entirely enjoyed the first book, and then diverge sharply on the second. I avoided all reviews, so I didn't know why. Now I do, and it's . . . awkward.
So like Neil Gaiman is a character? And not just an in-jokey walk-on, but a recurring character? With, like, a plot line and motivations?
And if I take several steps back from this, I can go yeah, okay, that's doing something. Cornell talked about the space Gaiman is filling in this story in re magical underground London and access to its spaces, and if you think about the landscape of these books – this genre niche, I mean, as it has grown over the past fifteen years or so –incorporating RPF for the author of Neverwhere makes a certain amount of sense.
But the truth is I'm not taking a few steps back from this and viewing it from that vantage. Because close up, within the pages of this book? The Neil Gaiman RPF was super fucking awkward and super fucking weird, and it made me so uncomfortable for nebulous, inarticulate reasons that it nearly ruined this otherwise entertaining book. I don't care whether he got permission (he did) or how good of friends they were (not that close, as far as I can tell). It's . . . sort of about how Cornell thinks he's doing something groundbreaking and interesting when he's, uh, really not. And sort of about a man profiting off of RPF while so many women push boundaries in much more interesting RPF as part of a maligned subculture. And sort of about how secondhand embarrassing it all came off, particularly in light of Cornell's self-confessed celebrity crush. And sort of about the role Gaiman is playing and what Cornell thinks he is saying about access to magical spaces and fannish spaces via Gaiman when I am one of that apparently rare clique of people who don't like Gaiman's stuff and don't think it represents us and our fannish experience.
And just . . . nope.
People I follow almost entirely enjoyed the first book, and then diverge sharply on the second. I avoided all reviews, so I didn't know why. Now I do, and it's . . . awkward.
So like Neil Gaiman is a character? And not just an in-jokey walk-on, but a recurring character? With, like, a plot line and motivations?
And if I take several steps back from this, I can go yeah, okay, that's doing something. Cornell talked about the space Gaiman is filling in this story in re magical underground London and access to its spaces, and if you think about the landscape of these books – this genre niche, I mean, as it has grown over the past fifteen years or so –incorporating RPF for the author of Neverwhere makes a certain amount of sense.
But the truth is I'm not taking a few steps back from this and viewing it from that vantage. Because close up, within the pages of this book? The Neil Gaiman RPF was super fucking awkward and super fucking weird, and it made me so uncomfortable for nebulous, inarticulate reasons that it nearly ruined this otherwise entertaining book. I don't care whether he got permission (he did) or how good of friends they were (not that close, as far as I can tell). It's . . . sort of about how Cornell thinks he's doing something groundbreaking and interesting when he's, uh, really not. And sort of about a man profiting off of RPF while so many women push boundaries in much more interesting RPF as part of a maligned subculture. And sort of about how secondhand embarrassing it all came off, particularly in light of Cornell's self-confessed celebrity crush. And sort of about the role Gaiman is playing and what Cornell thinks he is saying about access to magical spaces and fannish spaces via Gaiman when I am one of that apparently rare clique of people who don't like Gaiman's stuff and don't think it represents us and our fannish experience.
And just . . . nope.
