Jordan Castro and Noah Cicero in “Shoplifting from American Apparel” (2012).

1. This is a review of the recent film adaptation, not the book, although I’ll also say a few things about the book.

2. I saw the film on 14 March at the Logan Theatre in Logan Square, Chicago. It was a special event. About 70 people were in attendance.

3. The director, Pirooz Kalayeh, was there, and I spoke with him before and after the screening. Brad Warner, who plays Tao Lin (or “‘Movie’ Tao Lin”), was also in attendance.

4. Pirooz gave me a poster and a button and a DVD copy of the film. Thank you, Pirooz!

5. I’ve read Shoplifting maybe half a dozen times. I’ve also taught it twice. It’s my favorite of Tao’s books and I consider it something of a masterpiece.

6. Some people persist in thinking Tao isn’t a stylist, but I think he’s a brilliant stylist. Although maybe people are nowadays more convinced of this? I don’t know.

7. As Tao himself has pointed out (see here for instance), all of his books are written in different styles, something that I think obvious when one really looks at them.

8. I suspect some people really aren’t looking at them.

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Beyond Apollo | 1972, Random House | 156 pages

The Men Inside | 1973, Prestige Books | 175 pages

Galaxies | 1975, Pyramid Books | 128 pages

(Note: all three of these books are out of print, but cheap used copies can be found. In Chicago, I bought Beyond Apollo for $2.95 at Myopic Books (in Wicker Park) and The Men Inside for $3 at Bucket O’ Blood Books and Records (Logan Square). Galaxies I purchased used through Amazon for $1.25 + s/h.)

1. On 15 August 2011, my pal Jeremy M. Davies emailed me and said that I should look for a book called Galaxies by Barry N. Malzberg because it was “seriously beyond belief.”

I’m ashamed to say it took me until earlier this year to pick up a copy and read it. However, once I got started, I finished it under 24 hours.

2. Barry N. Malzberg was born in 1939. Since 1968, he’s written at least 66 books, if not more. (He’s worked under ten different names that I know of, which complicates compiling a full list.) Dozens of them are science-fiction novels—at least in theory. He’s also written story collections, essay collections, movie novelizations, crime novels, and pornography.

3. Galaxies (1975) at first glance tells the story of a young astronaut, Lena Thomas, the sole crew member of the spaceship Skipstone. Her cargo is an immense tank of goo filled with 515 human corpses. It’s the year 3902 and a person can pay to have his/her body ferried into space after death in the hopes that cosmic radiation will revive them.

Midway through the voyage, the Skipstone falls into a black hole, and the majority of the novel’s plot deals with Lena’s attempt to escape the ensuing hallucinatory free fall. During that timeless time she repeatedly dies and is reborn, recalls her lover John, consults with cyborg engineers, and communes with the dead, who have psychically reawakened.

But that’s not really what Galaxies is about.

4. Rather, Galaxies is a work of metafiction, concerned with its own creation, and presented as Malzberg’s notes on how he would write the novel Galaxies, if only he could. (He maintains that the novel is impossible to complete with present knowledge.) As such, most scenes are outlined rather than dramatically depicted. For instance, Chapter 29 begins:

And here could run yet another moody flashback concerning Lena’s relationship with John, dropped in to provide color and poignance, augmenting the mood of despair. Long sexual passages here could alternate with painful streams of consciousness in the present. Sex and space, orgasm and isolation could run counterpoint, and the author’s gifts for irony, which are not modest, would be exhibited to their fullest range. Also, in the traditions of modern science fiction, the sex scenes could be quite titillating, render the novel some extraliterary interest. A construct like this could use all the extraliterary interest it could get.

But even that’s not really what Galaxies is about.

6. Rather, Galaxies is about what science-fiction should look like in the year 1975. Malzberg is surveying contemporary literature and asking: How should science-fiction respond to the then-recent literary experiments of John Cheever, John Barth, Donald Barthelme, Joyce Carol Oates, Philip Roth, and others?

7. I’m not making this up. On page 48 Malzberg writes:

For instance, as the ship falls, there could be some elaboration on the suggestion that neutron stars might be pulsars which would be most intriguing, if the reader has not been intrigued sufficiently by the notion that all of “life” as we understand it when we glimpse the heavens may be merely an incidental by-product of the cycle of neutron stars.

So there, Cheever, Barth, Barthelme, Oates. What in the collected works would touch that for angst?

8. Malzberg calls those authors out again on page 85:

“Madness,” Lena says, shaking her head, “that’s utter madness,” but the author, busily pulling the handles of this little dumb show, sweating behind the canvas, casting a nearsighted, astigmatic eye every now and then through the cardboard of the set to see whether the audience is paying attention, how the audience is taking all of this, is thinking take that Barth, Barthelme, Roth, or Oates! Pace Bellow and Malamud, and may your Guggenheims multiply, but what have any of you or those unnamed created to compare with this?

9. If I haven’t convinced you yet to spend $2–3 on a used copy of Galaxies, you might as well quit reading now.

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