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.
Well, sort of: even as the season out there wanes, and pumpkin spices ever so slightly begin to waft, we’re on the verge of launching the third season of the epic: Summer. —The first draft of no. 46 should be done this month, which means revisions and finalizations of no. 45 might begin this month, as well; I am confident if not certain that it will be released in October: the first novelette in vol. 5, The Greene Chapel; the beginning of, well, Summer.
In the September 1978 issue of The Magazine of Fantasy and Science Fiction, there is a review column written by the science fiction author, editor, and critic Algirdas Jonas “Algis” Budrys. Budrys offers a brief summary of the “tried and true elements” of urban fantasy:
the desuetudinous old rooming house and its counterculturish residents, the bit of old wilderness rising atop its mysterious hill in the midst of the city, and the strangely haunted, bookish protagonist who gradually realizes the horrible history of the place where he lives.
Perhaps all men, by the very act of being born, are destined to suffer violence; yet this is a truth to which circumstance shuts men’s eyes. The strong are, as a matter of fact, never absolutely strong, nor are the weak absolutely weak, but neither is aware of this. They have in common a refusal to believe that they both belong to the same species: the weak see no relation between themselves and the strong, and vice versa. The man who is the possessor of force seems to walk through a non-resistant element; in the human substance that surrounds him nothing has the power to interpose, between the impulse and the act, the tiny interval that is reflection.
Where there is no room for reflection, there is none either for justice or prudence. Hence we see men in arms behaving harshly and madly. We see their sword bury itself in the breast of a disarmed enemy who is in the very act of pleading at their knees. We see them triumph over a dying man by describing to him the outrages his corpse will endure. We see Achilles cut the throats of twelve Trojan boys on the funeral pyre of Patroclus as naturally as we cut flowers for a grave.
“Take care,” says the woman in the mirror, and he lifts the razor from his lathered cheek. “I realize,” he says, “you people get a lot of mileage out of pretending you never have time for the niceties?” Dipping the razor in foam-swirled water. “Whatever you’re up to being too important. But, I mean, really– a closed bathroom door. Is nothing sacred?”
A shrug of her pearly shoulders. “Your majesty is alone, here.” Her voice rich, her lips painted brown, her large eyes smiling. “Well,” says Lymond, tilting his chin, “I’m headed down to a crowded audience in a minute. Make it quick.”
“This briefing is a courtesy,” she says, hands clasped behind her back. “You are advised of an operation currently underway in your city, to secure an item of paramount importance to global security; you’re assured that every effort will be made to secure said item with the minimum necessary disruption.”
Lymond takes up a towel to blot scraps of lather from his face. “If minimum disruption’s risen to the level of informing the mark, I’d guess a couple strands of haywire’ve already popped loose.” Leaning back against the sink, folding his arms, his dressing gown printed with antique travel postcards.
“Our agent in the field abruptly resigned. We’ve had to adjust our approach.”
“And, presto: you’ve got a false flag, to drape over any further cock-ups. Neat.” Clapping his hands, a hollow pop in these close quarters. “Tell me, which corner of the alphabet soup are you? FBI, CIA? DEA? FDA?” Her eyes still smile, her hands still clasped behind her back. “Okay,” he says. “All right. I at least get to know what the item is. Courtesy surely extends so far?”
“It’s serial fiction done right.”
“Our reviewers loved the world-building and well-drawn characters.”
