Skip to main content

The Cats Of Seroster by Robert Westall

I am Cam of Cambridge! Cam Cam Cam!
So, first the facts. Set in a fictionalized France of the sixteenth century, this young adult fantasy throws an English wanderer, 19 year old Cam, in amongst large, thinking, reasoning cats, descended from lineage that stretches back to Ancient Egypt, called Miw, who have been gently (and not so gently) directing the humans of their city and its surrounds for countless centuries, using their telepathic powers. Periodically however, they have had need to call upon the powers of the Seroster, a quasi-mythical warrior and cat-friend, reincarnated as the need arises, and whose gigantic sword and people-slaughtering capabilities are occasionally required to slaughter foes and scatter enemies and so forth. After the usurping of the ducal seat in the aforementioned city by some rather crude and un-cat-friendly types led by a rapacious fellow by the name of Little Paul, the Miw are forced into action, and Cam's part in the story begins!

Now the context. Many* might wonder why I've thrown back into the mix another teenage fantasy novel when I've previously made half-hearted apologies for so doing. The reason is very simple: I came across this on a recent trip to Hay on the shelves of the Hay On Wye Booksellers and for the sum of one English pound** it was an opportunity to revisit a nearly forgotten part of my childhood.

When I was *mumbles* years old, I got this from the library and simply devoured it. In retrospect I was baffled by what was going on, but it nonetheless inspired me to try my hand at my own, highly (highly) derivative novel, thumped out on the keys of my parents' old typewriter (a love for which has followed me through the years). As I recall I was amazed there were that many words in me.

So of course, I was delighted to find it again, having struggled to remember the title on and off for years. And I was not disappointed. It's still a marvellous read, not unduly violent despite all the killing and battles, and a lot of fun. However, I can see why I might have struggled as a young person to follow what goes on, as he leaves quite a bit to the imagination of the reader (bearing in mind I had no imagination as a child). It also ruminates heavily on the subject of death which, as a child, I found darkly exotic and titillating if ultimately confusing.

Westall was always a favourite author, and his ghost stories scared the bejeesus out of me when I was a teen, so if you have an older teen who might be a reluctant reader then why not drop this casually on to the sofa when he or she is next face-planted on his or her iPhone and express surprise at its appearance, given it mysteriously disappeared over thirty years ago. Perhaps they will heed its call!


*Ibid

**Or about $0.49 American as of December 2016...

Comments

How's about that then?

The Headmaster's Wife by T. C. Greene

I bought this on the recommendation of someone whose opinion I respect if not always agree with, and also as it was an Amazon daily deal I felt that 99p or whatever it cost was not too much to risk. I have become a little narrow in the field of what I choose to read and welcomed the digression offered. Subsequently, I feel a little hoodwinked. 
T.C. Greene’s previous book, Mirror Lake is one of those books that, as a former bookseller, I knew was there, would expect it to be propping up the centre of a table of multi-buy contemporary fiction, but had absolutely no desire to read whatsoever. They say you shouldn’t judge a book by its cover, but I disagree, given the time and effort spent by designers and publishers to ensure that any given book looks as similar as possible to the best-seller in any given genre. Mirror Lake enjoyed my ignorant prejudice for a good many months for this very reason. Of course, until I’d bought The Headmaster’s Wife I had no idea that the two Greenes were o…

Metaliterature - what meaning to have is this for meaning?

Not a review this time, more of a curiosity. It seems I'm receiving lots of hits from Russia (Здравствуйте России!) from people searching for the definition of "metaliterature". As such, it is something of a bespoke word, created to fit a need and probably not yet recognized outside literary theory / criticism circles (Merriam-Webster Online certainly don't like it). I was wondering what they typed in to end up here, so, for fun (it's not fun, sorry) I thought I'd bung it in Google Translate and see what came out. As it turns out, one needs a little hyphen for the rather ponderous machine to understand it, and even then only does half the job (meta seems to be meta in any language). 
Incidentally, below is, ironically, a Google Chrome Thesaurus definition* of "meta":

met·a Adjective/ˈmetə/
(of a creative work) Referring to itself or to the conventions of its genre; self-referentialInterestingly (not interesting, sorry) it says this for the full term, t…

And The Ass Saw the Angel by Nick Cave

Someone told me this novel, now nearly thirty years old (holy crap), Nick Cave's first and, possibly, his best, began life as a screenplay when he was still touring with The Birthday Present. That seems equally plausible and implausible. It is a wildly cinematic novel, narrated in flashback by the hermetic mute boy Euchrid Eucrow, who slithered into the world as one of a pair of damaged twins, the only one who survives the neglect of their first day on earth, and is vividly, viscerally visual. But it's also complicated, wildly imaginative, and at heart, finds a safer and more permanent berth in the gently revered world of literature than in the ever-changing and perfidious zeitgeist of cinema.

The story goes that Euchrid, after throwing himself into a bog into which he slowly sinks as he narrates his tale (to whom? and how?), was born, mute and unloved, into a truly Southern Gothic existence, mother a moonshine drunk, father a mean, bitter animal trapper, his community a severe…

A Rage in Harlem by Chester Himes

Often, intertextual inertia must give way to old promises and the making good thereof. In the case of Chester Himes, who I’d rescued from the clearance bin in Waterstone’s Cardiff before the summer, the paying of deserved respect was long overdue. I have a very soft spot for genre fiction, particularly when the content is framed quite so elegantly as that of Chester Himes’ Harlem cycle. Apologists justifiably present him as the Black American literary complement to white contemporaries and genre luminaries Chandler and Hammett, and from a personal perspective, his marriage of svelte prose and acute observation is as pleasing on the eye as anything from either author or other renowned pulp novelists like John D MacDonald. To my mind, Himes is particularly tasty bubble-gum for the brain. Of the verisimilitude of his characters I cannot comment. Harlem in the forties and fifties is as far removed from Cardiff in the ‘teens as I can possibly imagine (I sell myself short of course, but you g…