BOOK REVIEWS/REPLIES (2015): Richard McGuire’s (2014) Here

25 February 2015

Summary (TLDR Version)

The original ran six pages, apparently; it could have stayed that long.

Framing/Background for Replies

If you’ve already read this section this year, you can skip it; if you’ve read the previous years, I’ve updated it. Either way, it describes the aim of these book replies.

Three years ago in 2012, I set myself the task to read at least ten pages per day and then write a book reply (not a review) for each one I finished (or gave up on).[1] These replies don’t amount to Amazon-type reviews, with synopses, background research done on the author or the book itself, &c., unless that struck me as somehow necessary. Rather, a book reply—as distinct from a reaction (review) or a response—focuses on what in these pieces I could not have said (or would not have known to say) except that the encounter of this text and my consciousness brought it about.

Consequently, I must at times necessarily say poorly informed stuff, &c. And while some people in the world may expect public speakers to possess omniscience so that they won’t bother to engage in a dialogue to uncover how to make the world a better place, then to the extent that each reply I offer provides an I found this helpful in this book, it becomes up to us (you, me, us) to correct, refine, trash and start over, or figure out what else we might do as part of that attempt to make our world better for us and everyone.

And someone won’t bother to take up their end of that bargain, that points blatantly to a central part of the problem that needs a solution.

A Reply To: Richard McGuire’s (2014)[2] Here

I have been reading books but not writing replies and more and more feel pressed to “catch up”. This makes me want to have less to say than I might. All the same, of this book, the publisher tells us:

Richard McGuire’s Here is the story of a corner of a room and the events that happened in that space while moving forward and backward in time. The book experiments with formal properties of comics, using multiple panels to convey the different moments in time. Hundreds of thousands of years become interwoven. A dinosaur from 100,000,000 BCE lumbers by, while a child is playing with a plastic toy that resembles the same dinosaur in the year 1999. Conversations appear to be happening between two people who are centuries apart. Someone asking, “Anyone seen my car keys?” can be “answered” by someone at a future archaeology dig. Cycles of glaciers transform into marshes, then into forests, then into farmland. A city develops and grows into a suburban sprawl. Future climate changes cause the land to submerge, if only temporarily, for the long view reveals the transient nature of all things. Meanwhile, the attention is focused on the most ordinary moments and appreciating them as the most transcendent.

More ad-text assures us that readers have waited twenty-five years for the expansion of the original piece (now fifty times longer), which supposedly exploded the comic form by depicting the events over time that all happen in the same place.

This “joke,” which doubtless seems striking, and remains striking in the first couple of pages of the present version—and by “joke” I mean that in the most favourable sense of the word—quickly loses its traction however, and it seems instructive to wonder why.

From the publisher’s blurb, while “A dinosaur from 100,000,000 BCE lumbers by, while a child is playing with a plastic toy that resembles the same dinosaur in the year 1999” makes a possibly compelling image, that sort of significance does not, and in fact cannot, continue to resonate in the same way over a 300-page text. Everything depends in this book upon the various ironies of co-occurrence. One might imagine the human lives that all intersect at a given street corner over the course of a century, but if person A and person B have some sort of ironic or poignant connection, and so do person C and person D, what does the first couple have to do with the second?

Ultimately, any sense of the “history” of the place becomes nothing but a jumble of unrelated events, and this becomes very clear when pseudo-realistic depictions of the planet in some of its earlier eras linger in the background. This does not succeed in making human life tiny but, rather, simply detaches the sense of a place, a here, from the story. I doubt very much McGuire intends this.

I suspect that, ultimately, the very brevity of the original not only forced McGuire to more carefully integrate all of his material into something more like a single narrative, however spread out in time, but even if not, it certainly allowed the reader to make more of a single narrative of it. The expansion of the idea kills that possibility, essentially—like a full-blooded short-story tortured on a narrative wrack into an anaemic novel, or what we saw happen to the latest Hobbit movie.

Also—memory being treacherous at this point—it would appear that in the billion or so years of this room, the only sex that ever occurred here involved the rape of a Native American woman by a Native American male. That seems trashy and gratuitous, and it especially points out—since that narrative has no follow-up—how selective the book gets about what narratives it depicts at some length. The last gesture of the book, providing a kind of tidy tie-up, answers a woman’s question posed much earlier; she can’t remember why she has come into the room, looking for something, and at the end she remembers.

So McGuire implies, accidentally or not, that the book concerns memory, but this does not seem convincing. The only “history” of the place truly constructed comes from the reader (of the book). Only the reader has any access to the event-depth of the place, so that perhaps McGuire expects us to make something of the fact that a rape occurred and now the house stands on Native American burial grounds, or at least the site of a Native American culture depicted in only the most cursory of ways. One might call this invisibility deliberate or apposite—an official history that only takes note of what it choose to take note of (wandering dinosaurs, the Cainozoic era, &c). I certainly don’t find myself moved to a thoughtful consideration of “real” U.S. history by the only representation of Native American culture in this corner of the world as a rape. &c. He supplies nowhere near enough compositional intelligence to make such a reading likely, however much one could torture one out.

Also, the lack of an equal depth of field into the future seems a mistake. Apparently, the “act of imagining” required to supply images of the past represents a different faculty in the artist’s intentions. We do see some of the future, but only the extremely relatively near future—I think we get 10,000 years into the future at most, while the past goes back billions of years.


[1] I planned also to devise a way to randomly select books to read (given certain constraints) from the public library; this, to avoid the tendency only to read books that pique my already existing interests. I haven’t followed through on this yet.

[2] McGuire, R. (2014). Here. New York, Pantheon, pp. 1–300.

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