Some Reflections on The Castle Omnibus
Almost exactly a year ago, reports suggested that novelist Steph Swainston had chosen to quit writing. This seemed surprising, as Swainston had written four highly-regarded books, all set in a fantasy world where immortals led armies against giant insects: the Castle series. In fact, to judge by the actual interview Swainston gave, her choice seems to have been more nuanced. She felt that the demand for producing “a book a year” was excessive, and also that writing as a full-time occupation was psychologically stressful due both to the isolation needed by the writer and to the need to self-publicise on the Internet. She wasn’t necessarily ceasing to write, but electing to write at her own pace: “I’ve never said I won’t write again, just that if I do write another book, I’ll do it on my terms.”
So would more books from her be a good thing? Sure; more books are always good. To rephrase the question: are her books in particular good enough that it would be worth hoping for more of her work to be published? I think so, yes. I’ve read a collection of her first three books — The Castle Omnibus, which includes The Year of Our War, No Present Like Time, and The Modern World; I gather the fourth book, Above the Snowline, is a prequel to the other three — and I was impressed. I think she’s trying to do some very ambitious things in her fiction, and I’d like to see more of it.
I will also say that I think some of the ambitions of the books may not be fully realised. I found myself somehow skeptical as I read them; it wasn’t that I had difficulty accepting the world or the story, but that I was in some way on the outside of the tale. I find it difficult to articulate why that is, though. Looking around the web, I notice that reaction to her writing mostly seems divided between outright praise and responses vaguely similar to my own — a recognition that this is strong work, but … in some way lacking. My problem is that I can’t quite establish to my own satisfaction what the lack is that I feel. What I want to do here, then, is try to work out what it might be. I want to emphasise that I think these are very good books, and I do recommend them; if I seem to be hunting for a flaw, it’s because the writing here is strong enough that the problems are difficult to isolate.
Back on Mars already?
Matt Wagner began writing and illustrating the first Mage series in 1984 at the age of twenty-two. At the time, he was a relatively unknown creator struggling both to find his voice and make a place for himself in the comics industry. His subsequent work on Grendel and Sandman Mystery Theatre had garnered many awards and critical acclaim; but in interviews there was always the obligatory question of “When are you going back to Mage?”
