Each year here at Speculative Fiction Junkie ends with a Top 5 Reads post. Many of the books that make these lists have been reviewed here during the previous twelve months, but occasionally a book is included on the list that has no accompanying review. This was the case with D.P. Watt’s stunningly excellent collection An Emporium of Automata, which was initially printed in a very limited print run by Ex Occidente Press. It beat out some serious competition to make it onto my Top 5 Reads of 2010 list, so when I learned that Eibonvale Press would be reprinting an expanded edition of the collection, I couldn’t pass up the opportunity to give this collection the review it deserves.
This edition of Emporium collects most of D.P. Watt’s short stories that have been published to date and includes three stories that were published after the collection’s initial Ex Occidente Press run. While there are a few that do not leave much of an impression, a majority of them are outstanding works of weird fiction.
“Of Those Who Follow Emile Bilonche” has been a favorite of mine since I first read it a few years ago. It is an engrossing tale of one man’s descent into madness as a result of his obsession with the elusive works of one Emile Bilonche. Irrational obsessions are a frequent subject of weird fiction, but this tale is especially effective because of the slow revelation that despite the protagonist’s high praise for Bilonche, he actually knows almost nothing about him.
Another excellent story is “Room 89.” On the surface, it is a horror story involving a haughty academic vacationing on the Isle of Wight. But beneath the surface, something far more interesting is going on. A closer reading reveals the protagonist to be unwittingly ambling through a carnival fun house hall of mirrors bursting with disorienting reflections, only some of which are accurate. In this respect, the “Room 89″ is a perfect example of the way in which Mr. Watt’s fiction can work on multiple levels.
A final favorite is the first story by Mr. Watt I ever read, “Dr. Dapertutto’s Saturnalia.” This tale opens with a Soviet Inspector being outraged when he receives a package containing a roll of film from Dr. Dapertutto, self-described “Direktor, Entertainer, Reveller, Charlatan and Misanthrope.” To the Inspector, this is the most “blatant and insolent manifestation of bourgeois decadence” he has ever encountered. When a subordinate sent to arrest Dr. Dapertutto returns and reports that the theater had been destroyed the previous November for staging “theatre of a form unfit for the education and betterment of the Soviet State,” the Inspector decides that he must watch the film and seek out the Direktor himself. The theatrically violent scene that plays out on the film contrasts sharply with the regimented worldview of the Inspector, but the thing that makes this story so effective is the brutally stark way in which the Direktor, rather than the Inspector, is revealed to be the true master of the story’s world.
These stories make clear that Mr. Watt is a master storyteller in every sense of the word, but–as you should expect by now–there is actually more going on here than simple storytelling. Consider a story like “They Dwell in Ystumtuen.” It begins with a bored and distracted historian trying to recall the details of a public hanging that took place in 19th century Britain. But this image is then juxtaposed with the heart-wrenchingly tragic and brutally violent story of what actually happened to the person who was hanged. The contrast couldn’t be clearer and Mr. Watt states it plainly:
Imagine, if you can, dear reader (mindful, kind or otherwise) the infinite neglect of history by the historian. Imagine the millions of lives heaping up, untold, forgotten, yet undead in the graveyard of memory; begging, or praying, with skeletal hands to be brought back to mind, if only for an instant.
This is as concise and as beautifully written a statement as one can find of a theme that seems to be a near obsession of Mr. Watt’s, which is the overwhelming weight of the absent mass of humanity that has been lost over the ages. This same concern is seen in “The Condition,” when a character exclaims that “There is nothing remaining that has not had its song darkened by this century’s deeds. The world will have to begin art again. And from what it has lost it will realise the value of everything.” Another beautiful illustration of this theme can be found in “Beware the Dust!” from The Ten Dictates of Alfred Tesseller (review here) and indeed this is a theme intricately woven throughout much of Mr. Watt’s work.
This preoccupation with not just the humanity before us but with all of the individual humans who are absent is, I believe, at the root of several of the other strengths of Mr. Watt’s work, including the extreme beauty of his prose and the way that his narrators directly address the reader. While these traits obviously owe a debt to the author’s roots in the theater, their real impetus is the urgency that results from the dizzying work of confronting such a terrible vision.
An Emporium of Automata is a truly landmark collection and is as rich a treasure as literature is capable of producing.
The True First
An Emporium of Automata was first published by Ex Occidente Press in 2010 in a limited edition of 150 copies. Thankfully, Eibonvale Press has done the world the service of republishing the book as both a hardcover and a paperback, with an electronic copy to follow shortly. I purchased a hardcover copy and was very impressed with the physical quality of the book, my first from Eibonvale.
[This review was not based on a review copy]