It’s always interesting to observe the growth and development of jargon — a kind of insiders’ language, a code people can use to impress strangers. Today, I’m particularly interested in the idea of a fix-up novel — one that has been created from a group of short stories. In the days of the pulps, authors would throw off as many stories as possible to keep the dollars coming in. Some never caught the imagination. Others spawned related stories or sequels. Given a growing accumulation of such stories, authors would then edit then for consistency and, more often than not, write new connecting material to create a novel. Whether apocryphally or not, the neologism is attributed to A. E. van Vogt, one of my favourite authors of the so-called Golden Age. The best example of a fix-up is The Voyage of the Space Beagle, later plagiarised in part as the film, Alien (and its sequels).
By accident, I have read two very similar books back-to-back. The first was The Bone Key by Sarah Monette which is a thematically linked collection of short stories about the same protagonist. The second is The Guild of Xenolinguists by Sheila Finch which is a thematically linked collection of short stories about the same organisation. Monette’s book is, in essence, a fix-up without the frame. In other words there is a kind of progression from one story to the next so that, if we close one eye, it can read as a form of picaresque novel, episodic in nature but focused on a single “hero” figure”.
Finch’s book is, as they say, a very different kettle of fish. For those of you interested in epistemology, what we know and how we came to know it can be of critical importance. It gives us a basis upon which to make rational decisions, to assess the credibility of evidence, and so on. Monette’s book gives us multiple and reinforcing images of the same thing. Because of the internal corroborations, we can feel the “truth” of the character even though the linearity of the telling may not be confirmed. Finch has written a number of short stories about the same organisation but there only one overlap of character (between “A World Waiting” and “The Roaring Ground”) and there is no general attempt made to edit the stories to achieve coherence or internal consistency. All we have are eleven different stories plus one non-fiction piece that just happen to be about the role of interpreters in a multilingual extraterrestrial culture. After the first two or three stories I had to stop because I was approaching them in the wrong way. Rather than reading them as stand-alones, I was trying to fit them together to create my own fix-up novel. I suppose there was a deliberate decision made to exclude the kind of background information available at http://www.sff.net/people/sheila-finch/fullhistory.htm
Trying to follow this way leads to frustration because the stories do not fit comfortably together. To that extent, we have to distinguish between this book published by Golden Gryphon which bravely keeps going with its specialisation in collections, and Reading the Bones, which is a fix-up “novel” published by Tachyon Press. This includes the complete text of the title novella, which won the Nebula for best novella of 1998, and then continues with an Interlude to bridge into a second novella “Bright River of Talk”.
But, if you enjoy short stories on their merits, there are some very good stories in this collection. The one which many will know is “Reading the Bones”, but there are some very affecting ideas, well explored as in “Stranger Than Imagination Can” which carefully exposes stereotypes and prejudices. There are, as in any collection, one or two where the ideas are a little threadbare and the execution flat. Overall, this is enjoyable so long as you are not expecting a fix-up.