City of Roses is a serialized epic firmly set in Portland, Oregon, only with more sword fights: an urban fantasy mixing magical realism with gonzo noirish prose, where duels are fought in Pioneer Square, and river gods retire to comfortably shabby apartments.
For one who has experienced fortification spectra and rainbow auras, and seen souls rising from people’s heads, and fixed words begin to stream meaning, the uneasy question is this: what if it is merely neurological? What to make of the mystic loose from any system of thought or framework, who nevertheless has a seizure every time she passes through the same doorway? How easily it may be triggered, or even inherited. I cannot even look at a bevel, my mother has told me hauntedly. Lewis Carroll saw a pack of playing cards, but he might have seen the Supreme Face. What happens when the phenomenon has a name, an explanation?
To me the act of reading is a dream that is already lucid. The reader’s state is hypnagogic, a threshold position to read the text and produce its commentaries. The body, the world, these are always present: the aches in the back, the heat of the sun, the position of the limbs, the time off work, the surveillabilities of the police state. The fictive dream is an image that has already been pierced by arrows, like a martyred saint: this is what we call allegory…
“What were you thinking?”
Ysabel stands on the sidewalk arms akimboed, angry eyes half-hidden by narrow black sunglasses worn against fitful, threatened afternoon sunlight. Jo still in those black boots, that floppy white shirt, the black-and-gold vest, comes down the steps from the porch of the old green house. “I don’t know,” she says, shifting a big black bag hung from one shoulder. “That you couldn’t possibly fit all those shoes in this bag?”
“This is entirely your fault, Jo Maguire.”
“…like Little, Big crossed with Revolutionary Girl Utena.”
“Who else could cause an LLM to hallucinate Emma Goldman, John Berryman, and an Irish sea god?”
“The characters are both subtly human and bold rock-opera caricatures and why do they both work—”