Today I went to one of my area Barnes &
Noble stores because I still have a fondness for the last of the Big
Box Bookstores, and because I wanted to look closely at the
Science-Fiction/Fantasy aisle, particularly in regards to Fantasy,
since that is what I predominantly write.
I've heard horror stories of the SF/F
aisles in other areas, where they're nothing more than a tiny shelf
in a remote corner of the store, hidden by the shadows of an
ever-increasing Manga section. That's not the case in my area,
fortunately, and the two stores nearest me have a healthy selection,
at least as far of square footage of dead trees is concerned.
The variety on offer, though, is
lacking. As far as Fantasy is concerned, you have: the essential
Tolkien section, Tolkien followers like the Robert Jordan and Terry
Brooks, then the new epic fantasy stars like Joe Abercrombie, Brandon
Sanderson and Patrick Rothfuss, as well as noted female authors like
Mercedes Lackey and Ursula K. Le Guin. Neil Gaiman and the late,
great Terry Pratchett both have respectable shelf space as well. Jim
Butcher has a very large presence as well, with most of the Dresden
Files on offer, along with his other series. George R.R. Martin is
strongly represented too, of course.
After that, it gets murkier. The list
of instantly recognizable names diminishes. Ray Bradbury's modest
section occupies an uncomfortable spot next to an even smaller
(fortunately) Marion Zimmer Bradley section. Thanks to the game
series, the Witcher books are off to the side by the RPG and video
game art books. Two omnibus editions of Roger Zelazny's Chronicles of
Amber stand defiant near the end of the alphabet before the Warhammer
40k and Star Wars books begin. The rest is a sea of quite
respectable-looking books filling two genres: urban fantasy and high
fantasy in varying states of cynical deconstruction. And that is it.
It is this mob of lower-tier books that
stands out to me. I have no idea of their relative merits, nor their
flaws. The urban fantasy novels tend to feature a single person,
usually a woman, dressed in a way some artist might call “badass”
looking intently into the distance while surrounded by glowy bits.
The high fantasy books tend to focus on a sword, or someone holding a
sword in a generic ready stance. Others look even more generic. A
crown. An axe. The face of some warrior in a helmet. A close-up of a
dragon's eye. Or they might just be a landscape. Some are just a
design and some text. There's very little action.
Taken individually, these are not ugly
design choices for covers. Taken individually, they might draw the
eye on a table with a “New in Paperback!” sign accompanied by
whatever public talking heads have a ghostwritten memoir out this
month.
Lumped together, though, they turn into
a sea of sameyness. They get lost trying to muscle their way through
the crowd but all belie a similar school of graphic design that makes
them look boring.
Stagnant.
The poor cover selection is not the
authors' fault. That lies with the publishers/marketers/designers. If
every book cover looked like it came from the psychedelic paperpacks
of the 60s they would start to blend together in a riot of color
reflective of the time they were printed in.
The keyword that stuck about that
humble SF/F aisle was “stagnant” and the covers hit that home.
Science Fiction and Fantasy have long
occupied an awkward place where they sit at the kids' table in the
other room away from “Serious Literature.” Serious Literature is
for serious readers who are serious about being taken seriously by
serious academics. That attitude was what turned me off of most of my
20th Century Literature courses (my focus was on Medieval
and Renaissance anyway). SF/F was wild, frivolous, frequently
comedic, imaginative and frowned upon by Serious Literature. Its
supposed to tickle the imagination with its possibilities. Its
supposed to titillate you with stories that Serious Literature
doesn't want you to read because, God forbid, they might be FUN.
I didn't see any of that in the SF/F
aisle. I saw the literary equivalent of Dad Rock: something that was
once incredibly energetic but now trying to be responsible and
respectable and trying to make sure you go to bed by 11 so you have
enough energy for tomorrow.
I don't think that's the authors'
fault. Nor Barnes & Noble's. Nor anyone in particular's. I think
that at some point in time there was a desire for SF/F to be taken
seriously by an audience that was never going to give it the time of
day anyway. Only a few authors are ever lifted out of SF/F into
Serious Literature, notably H.G. Wells, Jules Verne, Bram Stoker and
Mary Shelley. Edgar Rice Burroughs and Robert E. Howard are lucky to
get occasional reprint collections. God help you if you're trying to
find Moorcock or Leiber or Moore or Brackett.
In chasing respectability, it forfeited
adventure, danger and even its own history. The great advantage of
SF/F is that literally and literarily, anything goes. Instead,
the Fantasy selection at your local big box store is Urban Fantasy
and some flavor of Gritty Medieval Fantasy.
“Fun” got inherited by a growing
Young Adult market because “eh, they're just kids books.”
Nevermind that the Harry Potter books have a gigantic adult reader
base and that Deathly Hallows
is a doorstopper that would make Tolstoy's nose bleed with envy.
Again, I don't think its anyone's
specific fault that the current state of mainstream Sci-Fi and
Fantasy except the growing need for traditional publishers and
retailers to make safe bets to turn a profit. So the covers are safe.
The titles are safe. The author selection is safe.
Its all quite boring unless you are
looking for a specific author or their work.
There was exactly one book on the
shelves that stood out completely with unique and eye-catching art: A
new edition of Neil Gaiman's Anansi Boys.
Just look at that cover. Its
magnificent. Its evocative. Its even a little outrageous. It was
unlike anything else taking up shelf space next to it, but it stood
alone next to its much more serious looking previous editions.
I think this is a root of the problem
facing mainstream SF/F at the moment. Stagnation in presentation.
Thank god that there's a growing indie
scene grumbling at the fringes, because if anyone can safe SF/F from
the Sisyphean hell of trying to be Serious Literature, its going to
be the ragtag group of misfits slapped together at the last minute.
2 comments:
I agree with everything you say. I'll keep my comments brief because I am typing on my phone. The thing that strikes me about the Anasi Boys cover is that it looks like a Gold Medal from the 50s or something Hard Case Crime is publishing today. This is not a bad thing, as those covers are meant to be eye-catching and appealing.
I agree with everything you say. I'll keep my comments brief because I am typing on my phone. The thing that strikes me about the Anasi Boys cover is that it looks like a Gold Medal from the 50s or something Hard Case Crime is publishing today. This is not a bad thing, as those covers are meant to be eye-catching and appealing.
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