Tales from the Bitface

As any fan will realise instantly, the title of this comes from Lou Reed’s ‘Romeo Had Juliet’. So that’s going to draw my interest right away. Then from the blurb we learn that Lou himself is a character in the story.

Turns out it’s a kind of coming-of-age novel about a seventeen-year-old boy from Queens in 1976 or so, who moves with his mother to Manhattan, and into the block where Lou Reed is also living. The boy, Matt, becomes something of a friend/assistant to Lou for a while.

In a parallel narrative, Matt falls for a girl at his new school, who might be involved in some withcrafty kind of stuff. It’s not obvious exactly how the timelines of the two strands relate, but things come to a head — or a couple of heads, you could say.

The book closes with a chapter entitled ‘Afterwords’ (note the plural) in which the narrator — or the author — writes after Lou’s death. This section makes it seem as if the early section was based on real events. The author is a successful actor, so who knows?

I want to quote this from that last section, about Lou’s music, because I love it:

And more than anything else, it was punk. Which should come as no surprise since you were its creator. I don’t care what Detroit says, you were doing it when Iggy was a mere Osterberg and Kramer was trying to figure out who the other four would be. As for the lads from my neck of the woods (famous for their “One, two, three, four” count-off and three power chords) who are considered by some as the progenitors of the movement… well, that just makes no sense chronologically or otherwise. Not to mention (but I will) that they basically wrote the same song over and over again. And however great a song it may be, it renders deep catalog cuts redundant. Sorry, kids, I guess you had to be there—on the Bowery when it happened. But I wasn’t.

And the same goes for the little London boy. Just the first few sentences you speak to the audience on Take No Prisoners relegates John-John to a corner with some crayons and a finger up his nose. The revolution you started was one of art and intellect. It inspired the defeat of tyranny in Czechoslovakia, for Christ’s sake. God save the queen, indeed.

‘The little London boy.’ 😀

Something about the length, the writing style, and the age of the narrator, suggests that this book should or would be considered young-adult (YA). But the Lou Reed connection makes it much more likely that people in my age group will be drawn to it. I don’t know what that means.

I enjoyed it, anyway. And it was a Christmas present from my daughter.

I’m quite pleased to have read as many as 31 books this year. Not sure quite how I’ve managed it, what with writing my own, and starting a new job, and all. Partly a lot of rereading of page-turners, of course.

Le Guin’s Rocannon’s World was not a reread for me, though I’ve had it on my shelf for years. Bought second-hand, I’m sure, I don’t recall where or when, but it’s an edition from 1978. And it’s a super-slim volume. It probably wouldn’t be classified as a novel at all, in today’s publishing world. It’s kind of a slight story, about a person from an advanced species — an Earth-human, essentially — getting stranded on a planet at bronze-age levels of technology, with various species of native humanoid.

The titular Rocannon has to make his way across the world to find the other high-level aliens who have caused him to be stranded, avenge himself, warn his people about their aggression, and maybe try to get rescued.

It’s not bad, but it’s maybe most notable for being, I believe, the place where Le Guin first used the term Ansible for s faster-than-light communication device. She went on to use it in many other novels, and other SF authors adopted it.

And now it’s also the name for something in IT automation. Infrastructure as code. Of which concept, though not Ansible, more later, probably.