I first heard about THE DEEP from a podcast review only recently; others will have had a much longer story with this series of tellings than I, and what I love about Solomon's book, and clipping.'s song before it, and Drexciya's music before that, is that they all exist in conversation with each other, endlessly recursive, endlessly sorrowful and full of unearned gifts of knowledge and wisdom and kindness, and all of them valid entry points into the larger mass of story that is THE DEEP.
On the surface, THE DEEP is a weird novella that takes place in either a parallel history or an alternate history or a future history rooted in one of the ultimate crimes ever committed by one person against another: the slave trade, in particular the superfluously callous disposal of pregnant women overboard during ocean crossings. People will be tempted to call it Afrofuturism for obvious reasons, as former Saga Press Senior Editor Navah Wolfe* does in her introductory note to the advance reader copy I was so damn lucky to be gifted (many thanks to Saga and BookishFirst for that). Time is wobbly in this novella, and I wouldn't have it any other way, but it certainly does make tense and labeling a problematic exercise.
But THE DEEP is many-layered, as one might expect both from a book inspired by a song inspired by another body of work, and also as one might expect from an author such as Rivers Solomon. There are many stories to be told about the events it employs as inspiration, but it is a credit to all of the creators (singers, songwriters, performers, author, and editor) involved that this is a story about both the restorative and the continually injurious functions of memory and grief, their inextricability, and the beauty of building relationships with those who carry the burden of memory (and loss) alongside us. The idea is an especially potent one to me, the failed writer who cannot even revisit my graduate thesis on three family forgettings without reliving memories my body isn't ready to handle. Speaking from personal experience, the twin physical and psychological tolls of remembering critical memories as described in THE DEEP are very, very real. Like, I'm-currently-on-medication-and-seeking-intensive-therapy-for-that-kind-of-remembering real. This book speaks to that reality in a way that is sensitive and accurate.
Stylistically, this book was not quite even. Those who loved the style and language of AN UNKINDNESS OF GHOSTS will find nothing to dislike here, but I do occasionally find Solomon's voice dry and distant, or perhaps more accurate a touch more disjointed than I personally enjoy. There is some skipping around with the point of view that makes sense on a story mechanics level but kicked me out of my immersion, and that might play a role. But while I note those elements which detracted a bit from my personal experience, I cannot stress how important and valuable I think this novella to be. It's a compelling thought experiment layered with additional compelling thought experiments, and the more I delve into the backstory of THE DEEP (and clipping.'s process and inspiration as well), the more I fall in love with this weird little game of telephone among all these amazing, excellent storytellers. Many thanks to Rivers Solomon for such powerful words; many thanks to Navah Wolfe for asking for them; many thanks to the band clipping. for the song that inspired Wolfe's request; many thanks to the folks behind This American Life who commissioned the song; many thanks to Drexciya for the mythology; and many, many thanks to those who have dedicated their lives to remembering what so many of us find convenient, or necessary, to forget ... even in part.
* Wolfe may no longer be with Saga because of restructuring, but as is evidenced by THE DEEP (brought into book form in large part by her efforts although released after her departure) her work will continue to bring much credit to the imprint ... and all future imprints, authors, and entities associated with her name.
On the surface, THE DEEP is a weird novella that takes place in either a parallel history or an alternate history or a future history rooted in one of the ultimate crimes ever committed by one person against another: the slave trade, in particular the superfluously callous disposal of pregnant women overboard during ocean crossings. People will be tempted to call it Afrofuturism for obvious reasons, as former Saga Press Senior Editor Navah Wolfe* does in her introductory note to the advance reader copy I was so damn lucky to be gifted (many thanks to Saga and BookishFirst for that). Time is wobbly in this novella, and I wouldn't have it any other way, but it certainly does make tense and labeling a problematic exercise.
But THE DEEP is many-layered, as one might expect both from a book inspired by a song inspired by another body of work, and also as one might expect from an author such as Rivers Solomon. There are many stories to be told about the events it employs as inspiration, but it is a credit to all of the creators (singers, songwriters, performers, author, and editor) involved that this is a story about both the restorative and the continually injurious functions of memory and grief, their inextricability, and the beauty of building relationships with those who carry the burden of memory (and loss) alongside us. The idea is an especially potent one to me, the failed writer who cannot even revisit my graduate thesis on three family forgettings without reliving memories my body isn't ready to handle. Speaking from personal experience, the twin physical and psychological tolls of remembering critical memories as described in THE DEEP are very, very real. Like, I'm-currently-on-medication-and-seeking-intensive-therapy-for-that-kind-of-remembering real. This book speaks to that reality in a way that is sensitive and accurate.
Stylistically, this book was not quite even. Those who loved the style and language of AN UNKINDNESS OF GHOSTS will find nothing to dislike here, but I do occasionally find Solomon's voice dry and distant, or perhaps more accurate a touch more disjointed than I personally enjoy. There is some skipping around with the point of view that makes sense on a story mechanics level but kicked me out of my immersion, and that might play a role. But while I note those elements which detracted a bit from my personal experience, I cannot stress how important and valuable I think this novella to be. It's a compelling thought experiment layered with additional compelling thought experiments, and the more I delve into the backstory of THE DEEP (and clipping.'s process and inspiration as well), the more I fall in love with this weird little game of telephone among all these amazing, excellent storytellers. Many thanks to Rivers Solomon for such powerful words; many thanks to Navah Wolfe for asking for them; many thanks to the band clipping. for the song that inspired Wolfe's request; many thanks to the folks behind This American Life who commissioned the song; many thanks to Drexciya for the mythology; and many, many thanks to those who have dedicated their lives to remembering what so many of us find convenient, or necessary, to forget ... even in part.
* Wolfe may no longer be with Saga because of restructuring, but as is evidenced by THE DEEP (brought into book form in large part by her efforts although released after her departure) her work will continue to bring much credit to the imprint ... and all future imprints, authors, and entities associated with her name.