City of Roses is a serialized epic firmly set in Portland, Oregon: an urban fantasy mixing magical realism with gonzo noirish prose, where duels are fought in Pioneer Square, and union meetings are beseiged by ghost bicycles.
Although it is perfectly natural for a writer as steeped in literature as Nabokov to build his fiction on a literary allusion, the procedure has been adopted by many novelists and is hardly an indication that the focus on literature somehow carries the writer away from the world of experience outside literature. Fielding makes the Joseph story in Genesis central to Joseph Andrews; Joyce famously organizes the episodes of Ulysses as parallels to episodes in the Odyssey; Faulkner uses the biblical story of Absalom’s rebellion as a prism through which to see the catastrophic history of the American South.
Tolkien, Howard, and Lovecraft are only three of many examples: ideas about Celticness have permeated the fantasy genre in all its forms, sometimes explicitly embraced and sometimes absorbed by osmosis as simply part of fantasy’s genre conventions. As Cox has observed, “Celticity holds an ever-present position in fantasy media, but in so doing it becomes effectively invisible because it becomes associated with the fantasy genre rather than any particular source culture.” This then drives writers and audiences to turn back to what they consider “authentic” sources—often wildly out of date or simply made up—of “Celtic” tradition in order to supplement what they perceive as the “generic” æsthetic resources of fantasy. Cox describes this as a “double exposure”—
Rereading is the key here. We’re familiar with rereading whole stories that we like or ones with endings that puzzle us. But what Lish, and writers of this ilk, ask us to do is to reread sentences in the course of making our first reading. This assumes a reader, a listener even, with the patience to linger over the page, its construction. (Gary Lutz prefers a “page-hugging” to a page-turning reader.)
“Could you maybe describe what you saw?” says Mr. Charlock.
“Well,” says the woman. She’s sitting on one end of the spavined couch. Mr. Charlock’s sitting on the tile-topped coffee table before her, hands on her knees leaning forward, looking up into her eyes. “Would you really use the word huge?” he says. An owl’s feather dangles from the sunglasses tucked into his jacket pocket.
“Well,” she says, “I, um.”
“Monster?” says Mr. Charlock. “Is that really the right word?”
“Monstrous,” says Mr. Keightlinger, fingering the gauzy curtains hanging in the big front window.
“I wouldn’t use that word either,” says Mr. Charlock. “Step it back. Last night. What did you do? What did you see?”
“Well,” she says.
“You come out of the house, back door. It’s dark. Hypocrisy in your hands. Light on the side of the house goes on, garbage can, recycling tub, then what? What’s knocked it over? What’s rooting around in the coffee grounds? Just this? All this? All this fuss over a little possum?”
“Coyote,” says Mr. Keightlinger.
“A little coyote?” says Mr. Charlock, lifting his hands from her knees. “Well?”
“Our reviewers loved the world-building and well-drawn characters.”
“Long, complex with a lyrical rhythm to it that’s intoxicating.”
