In some of his books, Mellick uses a sort of experimental voice-style, which reads sort of like the language used in dreams. THe books written in this style also have the FEELING of dreams, and a similar logic: the landscapes are often living, breathing things, with creatures and plants mixed together in unusual combinations; people perform acts which take on the feeling of Religious Rites on other planets (occasionally, it feels like you have just wandered into the wrong church, and are completely foreign to its customs and traditions), and the people-things are often capable of feeling two conflicting emotions at the same time. Which, I admit, most people are, but it is hard to put this very human trait to paper quite as effectively as does Mellick.
All of it, at first, might seem a bit random. But, as you read on, the book starts to take on a unique shape, where things briefly mentioned on the first page are brought back on the last, and those seemingly useless creature-plants are used rather impressively as tools of foreshadowing. The ending reflects the beginning in subtle ways, especially in this book, and you feel a sense of completion more powerful than most modern books, which tend to leave the reader with the feeling that while the story may have finished, nothing was really resolved. This is my favorite sort of ending, actually, but when done poorly it just makes me feel hollow-stupid, sitting there with a book in my hand as limp and pointless as a withered balloon. The good times wasted.
This book however, satisfied my need for a well-rounded/clever-as-all-hell ending rather nicely, and it reminded me once again that there are some authors out there who will make you feel like an asshole for that comment in college when you said modern authors would never be as great as the Beats.
Jeez, what a pretentious little shit I was.