Danielewski's 'The Familiar, Vol. 1' Is Too Much, All at Once

As a compendium of inventive thought and prose, The Familiar, Vol. 1 succeeds. As a coherent novel, it's impenetrable.

The Familiar, Vol. 1: One Rainy Day in May

Publisher: Pantheon
Length: 839 pages
Author: Mark Z. Danielewski
Price: $25.00
Format: Paperback
Publication date: 2015-05

There are two easy ways to respond to a tome like The Familiar, Vol. 1: One Rainy Day in May. One is to declare it a work of genius for the form-bending ways it plays with the format of the novel, with varying typographies and fonts forming a book landscape unlike any other in recent memory. Another is to label it a pretentious overshoot on the part of author Mark Z. Danielewski; with numerous storylines that rarely, if ever, intersect meaningfully, the story of The Familiar Vol. 1 covers so much ground it forgets to find its center.

The truth of The Familiar Vol. 1 lies somewhere in between. It's far too simple to make grandiose proclamations about Mark Z. Danielewski's meticulously conceived novel because, well, it is a grandiose kind of work. It will earn accolades and adoration simply because it exists in the complicated fashion that it does. The laundry list of its features runs quite long, but just to touch on the important ones: it runs 839 pages; it weighs nearly four pounds due to its glossy paper; it includes upwards of ten different narrative angles that span the globe, which are color-coded at the top corner of each page and differentiated through various fonts; and, as per Danielewski's distinct style, the text rarely stays within the traditional layout of a novel, taking shapes that include spheres, raindrops, and computer code.

Danielewski made his name on such typographic free play with his international breakthrough House of Leaves (2000), a novel that is still the subject of heated online message board debates to this day. Like House of Leaves, The Familiar, Vol. 1 tells an ostensibly simple story in the least simple way possible. The novel's jacket flaps break it down thusly:

[The narrators include] a therapist-in-training grappling with daughters as demanding as her patients; an ambitious East L.A. gang member contracted for violence; two scientists in Marfa, Texas, on the run from an organization powerful beyond imagining; plus a recovering addict in Singapore summoned at midnight by a desperate billionaire; and a programmer near Silicon Beach whose game engine might unleash consequences far exceeding the entertainment he intends.

Keeping track of these myriad threads is no small task, and despite the color coding of the page corners and the changes in font, both of which clearly signpost shifts in narration, it's pretty difficult to make a coherent picture out of it all. The narrative centers on a young girl named Xander who, "one rainy day in May", goes out to buy a dog with her father. However, although Xanther's tale is the anchor that the other stories in some (usually minute) ways call back to, it would be glib to say that The Familiar, Vol. 1 is "about a girl going to get a dog". Such a statement would be akin to saying that James Joyce's Ulysses, an obvious forefather to The Familiar, Vol. 1, is just about one day in Dublin.

As if this weren't enough, it's important to remember that The Familiar, Vol. 1 is but Vol 1. How many volumes will it take to unfold the story of Xanther and her dog? Apparently, it will take 27. The Familiar, Volume 2: Into the Forest, which spans 880 pages, is already scheduled for an October 2015 release.

Even the most intrepid of readers might backpedal at this point. On its own, The Familiar, Vol. 1 is a major undertaking, requiring one to track numerous different storylines while keeping up with Danelewski's intricate typography. The various techniques Danielewski employs to delineate each narrator -- the aforementioned font and color changes -- do help some, but they exist more to keep the novel from falling apart into an incoherent shambles, rather than to make it "easy" for the reader. As such, the prospect of going through 27 more of similarly composed novels is frightening, if not outright impossible. Online chat rooms are already picking apart the novel's intricacies and eccentricities, and will no doubt continue do so in the coming years. Nearly 100 years after their publication, critics and scholars continue to bicker over the nuances of Joyce's Ulysses and Finnegan's Wake. One volume of The Familiar is enough of a task; another 26 is cerebral overkill.

Of course, the high concept and detailed execution of The Familiar, Vol. 1 are what Danielewski will be praised for; indeed, such acclaim has already started rolling in. "A Rainy Day in May is a tour de force, less a novel than it is an experience," Robert J. Wiersema gushes for The Globe and Mail (though he qualifies, "For readers who can reframe their expectations"). "If Danielewski can complete even part of his grand project," Tom LeClair writes in The New York Times, "its scale and range and variety could well compete with high-end television series. These critics are well within reason in making their claims: The Familiar, Vol. 1 is, undeniably, an achievement. In its linguistic and lexical free play, philosophical heft, and inventive structure, the novel is remarkable, and indicative of what a fascinating thinker Danielewski continues to be.

The Familiar, Vol. 1 is a project whose workmanship is evident with each creatively designed page. As Danielewski told NPR, "I spend a long time on my books. House of Leaves took me ten years. Only Revolutions took me six very solitary years. And [One Rainy Day in May] has been in the works for nine years." Yet it's far too easy for critics and fans to wax rhapsodic about Danielewski merely because of the scope of his achievements. By and large, much of the praise bestowed upon Danielewski's novels is form rather than content-based; many reviews, such as the Guardian's article, express befuddlement at the slightest attempt to describe basic features like plot.

In describing Danielewski's work, a passage from Steven Poole's review of the 2006 novel Only Revolutions for the Guardian is rather illuminating: "The book is to be admired for its sheer zest for invention, the kind of faith in ambitious literature so rare among contemporary novelists. And though it can often be baffling and tiresome, it also has enough flashes of expressionistic brilliance and sustained deliriums of invention to justify the reach."

The same is true for The Familiar, Vol. 1, though what a reach it is. At its best, the novel captures what makes Danielewski's distinctly postmodern style so intellectually satisfying. In the early chapter "Square One", told from the perspective of Xanther's father Anwar, a computer programmer and game designer, Danielewski uses numerous bracketed parentheticals so as to create the effect of computer code, thus laying out a sort of "coding" for a conversation between Anwar and his daughter. Though tricky to jump in to at first, "Square One" pulls off a balance that too often falters to one side or the other throughout The Familiar, Vol. 1: utilizing atypical writing technique while keeping the story rooted in its characters. This "coded" chapter of Anwar's makes terrific sense because i'is easy to imagine Anwar himself analyzing his life in that way. Here the writing reflects character, and is not merely a gimmick for further complicating the story.

In other less successful cases, however, Danielewski goes overboard in linking up his prose style with the personality of his characters. A plotline involving two scientists hiding out in Marfa, Texas from a shadowy organization includes passages like the following: "Maybe that supposition was just her thoughts slipstreaming her own desire to locate some kind of compensatory pleasure, albeit remember, albeit hazily; a carnal reference away from the rest of her thoughts which these days keep veering too often towards carnage" (147). Such highfalutin locutions are somewhat befitting of the two brilliant scientist characters. Nevertheless, such densely brainy prose reads more like a case of Danielewski over-committing to an idea about his characters rather than a reasonable depiction of the characters themselves.

The same is true for chapters like "zhong", told from the perspective of a character called jingjing, which is written in a highly broken English that appears to be mimicking the effect of a literal, unedited translation from Mandarin or Malay (jinging lives in Singapore) to English. Those who slogged through the thorny pidgin English midsection of David Mitchell's Cloud Atlas (2004) will find this a similar challenge.

I could go on for multiple paragraphs about the strengths and weaknesses of The Familiar, Vol. 1. For every one ingenious prose trick that Danielewski pulls out of his endless grab bag of novelistic ideas, there's a corresponding case of him coming off as too big for his britches. As with House of Leaves or Only Revolutions, it's undeniable that The Familiar, Vol. 1 is a project that only a lofty intellect could devise. Those especially nerdy bibliophiles could have a blast plundering through its endless labyrinth of a story, such as it is.

Wiersema's review of the book for The Globe and Mail says it best: it is "less a novel than it is an experience." When critics use such language to describe a work of art -- "not an X, but an experience" -- it is usually done in the form of an accolade, with its "experience-ness" signifying that it's something inherently greater than the basic art form it takes. With The Familiar, Vol. 1, and indeed the Familiar project as a whole, "experience" is merely a factual description. Though classifiable as a novel, it doesn't read like one; instead, it's something of a literary assemblage, waiting to be decoded and pieced together by its many readers. The best preparation for approaching this work is to disabuse oneself of all of the requisite experiences of novel-reading, as they only infrequently inform this confounding compendium.

In the end, this first volume is the kind of thing that will give back to the reader however much she puts into it. If one is willing to follow Danielewski down even some of his opaque lines of thought, she will find reward -- though it will come with anything but ease. However, if upon looking at this behemoth of an "experience" -- to say nothing of its 26 future installments -- one decides that it just isn't worth the lofty work, she isn't wrong in thinking that, either.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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