Complicity and the Reader

by Jo Walton on March 7, 2017

In the genres of science fiction and fantasy, when a book is written in an unusual mode, it’s usually either a gimmick or window-dressing. Window-dressing is when for instance a Victorian feeling book has a faux Victorian style as part of that feel. An example of this would be Heinlein’s *The Moon is a Harsh Mistress,* where Heinlein doesn’t have to tell us that the English spoken on the moon is heavily influenced by Australian and Russian, he gives us a first person narrative devoid of articles and peppered with Russian borrowings and Australian slang. It’s great, but really it’s just scenery, everything else would be the same if he’d chosen to write the book in third with just the dialogue like that. It’s quite unusual to read something where the mode is absolutely integral to what the book is doing. In Womack’s *Random Acts of Senseless Violence*, the decaying grammar and vocabulary of the first person narrator, Lola, mirrors the disintegration of society around her, and we the reader slowly move from a near future with a near normal text to a complete understanding of sentences that would have been incomprehensible on page one, in a world that has also changed that much.

In Palmer’s Terra Ignota, after a page of (amazingly clever) permissions that locate us solidly in a future world with both censorship and trigger warnings (though we may not yet be aware we should take those trigger warnings very seriously) we meet not a normal Twenty-First century “1” or even “Chapter 1” but an Eighteenth Century style “Chapter the First: A Prayer to the Reader.” Then we are addressed directly:

> You will criticize me, reader, for writing in a style six hundred years removed from the events I describe, but you come to me for an explanation of those days of transformation which left your world the world it is, and since it was the philosophy of the Eighteenth Century, heavy with optimism and ambition, whose abrupt revival birthed the recent revolution, so it is only in the language of the Enlightenment, rich with opinion and sentiment, that those days can be described. [click to continue…]