City of Roses is a serialized epic firmly set in Portland, Oregon, only with more sword fights: a wicked concoction of urban pastoral and incantatory fantastic, where aspirants are knighted in Forest Park, and the Devil keeps a morgue in an abandoned big-box store.
Now that nos. 45 and 46 are complete and in the world, a number of elements of this new season, Summer, the third season of the epic, might well be coming into focus. —Head over to Chapbooks, and scroll down to the brand new section where the third season chapbooks will be collected, and you’ll notice that no. 45 is the first installment of vol. 5, the Greene Chapel—and that no. 46 is the first installment of vol. 6, Eleleu Ie.
The aptness of this satire in 2025—in which the law is even presuming to rule on biological “reality”—draws attention to the similarities between the 2020s and the 1920s, which seem much closer to the present now than, say, the 1940s or 1950s. Like our current government, the good burghers of Lud-in-the-Mist can’t counter, or even account for, the ongoing collapse of the dominant symbolic order around their ears because they are unable to recognise on ideological grounds the very forces that are opposing them.
Certainly there is no future for the genre except as a metaphor within some other work. By now the whole complex of ideas has passed so into the general culture that it is conceivable in art only as lyric imagery or as affectionate reminiscence. In fact, the vampire tradition has hardly been used in lyric verse—I can only remember one poem in Fantasy and Science Fiction. I always thought Italian directors would do very well with vampires as cultural symbols for the rotten rich—many of the traditions about the vampire are close to the atmosphere of films like La Notte or La Dolce Vita.
A running shoe in one hand, blue and brown, a square-toed Oxford black in the other, he stands there, looking from one to the other, “Where was I,” he says. Setting them both on the counter, he pushes the running shoe over to the woman on the other side, holding the mate, brown and blue. Her jacket and her long brown hair dark with rain. She puts hers by the one he’s given her, “So, now what?” she says. “Do I put them on?” and he shrugs. “You can, if you like,” he says. “They’re shoes.” He drops the lone black Oxford onto the jumbled pile of shoes at his feet. “Welcome to Portland,” he says.
Patter of rain against plastic tarps, blue and green, garbage bags stretched over flattened cardboard boxes, a lean-to strapped to the high wire fence along the sidewalk. A curl of freeway overhead, a shadowed mass above the streetlight, and the blank black sky beyond. His grimy hoodie blotched with rain, he kneels at one end of it, lifting a flap, “Hey,” he says. “I’m with the XO. Jefe’s here?” Three or four figures lying under the shelter, on old blankets, a sleeping bag, more flattened cardboard. One of them maybe nods. “So who are you,” says another one, but the fence rings as he curls up against it, sitting himself as much under the shelter as he can get. His eyes narrowed over cheekbones hunched. “I’ll tell you tomorrow,” he says.
“—people who like urban fantasy written in a rather jumpy unusual style will like this book—”
“—to explain how this is Emma Bull’s War for the Oaks plus Portlandia with a smattering of Little, Big and Chinatown.”
“Just a glorious bit of writing, I can’t recommend it highly enough.”
