Doug's Reviews > The Imago Sequence and Other Stories

The Imago Sequence and Other Stories by Laird Barron
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's review
Aug 16, 2011

it was amazing
bookshelves: favorites
Read from August 08 to 15, 2011

[Note: Originally posted this to my blog with some additional footnotes (mostly on the use of Wallace Stevens poetry in the collection and a couple of extra paragraphs at the end that included links to other reviews and product pages. Edited out the footnotes for not quite fitting in the Goodreads motif (maybe I'm wrong) and the others for obvious reasons.]

The Imago Sequence represents about seven years of creative development for Laird Barron, from 2001 to 2007. This can be a big swath for an up and coming writer and perhaps the biggest surprise is not that Barron has so quickly grasped his style and so early developed hallmarks to anchor his works, but that his first decade of output has been marked by a certain consistency of key tropes and philosophies. Very mature, hard to handle ones. Imagine trying to sum up the thick, ropey fear that you get upon hearing the slightest whisper in your house at night, when you know everyone else is gone. Combine that with looking up into the night sky and realizing you are looking at dead stars' last echoes of light. Stir in the way that glimpses of things out of place, the visual mask of weirdness hinting at more underneath—like an old woman standing by the interstate in the middle of the night, staring into the woods—hits a generation of horror fans raised on movies. Think of the idea that out there, somewhere, the Allegory of the Cave breaks down, and some chained people have turned and looked to the sun at the mouth of the cave and they have found it horribly amazing and amazingly horrible. Toss in discussions of geological ages, entomology, drug abuse, depression, and the breakdown of relationships and you have a good idea of what you are getting.

Inside of these motifs, there are various takes. "Proboscis," hands down the hardest story to crack despite being one of the shorter ones, focuses heavily on genetic slime, the smell of chlorine bleach, and insect life. "Shiva, Open Your Eye" starts out seeming to be about a psychic (?) farmer (?) investigated in connection to missing people but eventually erupts into full Barronian mode with an outright Dunsanian abandon. In the midst of the outpouring, we get possibly the single most horrible scene in the entire book, a couple of lines about a slight fissure just becoming evident across the night sky as Shiva/God/Azathoth/The Universe starts to finally open its eye to see. "Bulldozer" references elements of "Shiva" (there is the concept of God's Mouth not in the sense of Metatron, from which God outpours His commands, but in the sense of devouring and chewing up the Creation, punching holes through it, which close up only to open new ones), but is something of a Western/Noir mashup, focusing on a Pinkerton agent with a violent streak coming against something that cannot be solved with guns (and it, too, has a wonderful moment where it dives into Barronian mode, while playing with chronological order).

"Hallucigenia" also looks at an investigation, this time an ex-playboy is trying to find out what happened after an incident in a dilapidated barn ruins his life and severely harms his pretty young wife. This story, by the way, is more Lovecraftian than the others, with a clan of redneck sorts breaking through into vile realms and better, more upper-crust sorts getting pulled into the hell dug up while an investigation into the behind-the-scenes becomes the catalyst for even worst things. In fact, investigation is a strong motif across the collection. In "Old Virginia", the opening story, there is a scientific study going down despite the main character's not knowing everything he should. A similar thing happens in the aforementioned "Proboscis", and the theme is obviously present in "Shiva" and "Bulldozer". "Procession of the Black Sloth", original to this collection, "The Imago Sequence", and "Parallax" also entail detective work, spying, and the like. In fact, the only story in which some sort of research, study, or probing doesn't go down is "The Royal Zoo is Closed", and I may have just missed it there. Time and time again, the moral is, "We are driven to know, and this drive will destroy us."

Going back to "Black Sloth", the story that was original to this collection and, based on one interview, the first to be optioned for film rights, we have an interesting experiment indeed. Much of the horror in that story is accomplished by being the on-the-page rendition of modes and tropes used in cinematic horror, especially Asian cinema. Not only do we get actual scenes on TV screens and movie screens and photographs (the corporate detective at the core naturally uses lots of cameras), but several of the key scenes are presented audio-visually, devoid of smell and taste and touch. As a note, though, if you don't know much about Diyu, the Chinese/Buddhist concept of levels of Hell, then you might be confused by what's going on here or there. The idea of a audiovisual experience being captured by the written word earlier showed up in "The Imago Sequence", where the quest for a strange series of photographs and a missing uncle—and along the way references strange hominids and skies of amber and worlds with wrong bunches of time mashed together—leads largely on a quest to see the truth and to hear it, "Black Sloth" feels more pure in the form.

My favorite in the collection? Probably "Parallax". While "The Imago Sequence" roped me in with its quest and its strong Barronian concepts, and while "Black Sloth" is probably the most haunting to me ("Bulldozer" likely wins for most fun, with "Proboscis" being the one I'll likely reread first); "Parallax" is simple and haunting and unbelievably tragic. Most of the others make you feel like you should hate this person or that one who decided to do bad things and so bad things developed, but "Parallax" is the one that makes you feel that the Universe itself is a bastard. Not because of the rules. Not because of some hungry God that needs a Mouth to feed, but simply because it is. And, well, it definitely can be, now can't it?

Overall, loved the collection. I read Occultation first, because I do everything in reverse, and I have to say that while that is a collection of stronger stories (or, maybe, it is best to say that the stories are more honed in their devices) this feels more like a stronger collection. With a couple of exceptions, these could all be people witnessing the same universe from slightly different times and angles. The mood never quite peaks to the degree it does at the climax of Occultation's "--30--" or "The Broadsword", but it feels more darkly sustained at a lower, ambient beat.
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08/08/2011 page 170

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