The Gone-Away World

Best. Book. Ever.

That’s the short review. The long review, in which I mention not only the author (Nick Harkaway) but somewhat of the content, has just started. Thus:

The Gone-Away World is set in a post-apocalyptic, not-too-distant-but-slightly-parallel Earth. It is not exactly sci-fi, nor is it quite fantasy. Rather, it is speculative fiction in the fullest sense of the phrase: it speculates. Grandly. And it is fiction.

To say I enjoyed this book is an understatement of gross proportions, somewhat akin to describing Hiroshima as a power outage. Among other things, reading it by the photocopier contributed to my recent firing from a government bureaucracy – a pleasant irony, given what Chapter 1 has to say on the subject of pencilnecks. Having turned the last page less than an hour ago, I am therefore ideally placed to confirm that this is a book well worth getting fired over.

The chronology is interesting, and also highly effective. Imagine a linear narrative, its scenes labelled A to Z. Were you to pick up Scene R and place it carefully in front of Scene A, you’d have the right idea, as this is what Nick Harkaway has, in fact, done. In this respect, the structure is reminiscent of Memento: from an unconventional starting point, we travel back through the preceeding narrative in an orderly fashion, thence to discover the pivotal reason for said starting point. And this we do, with a hefty whack of brilliant, witty, outrageous, absurd, intriguing and above all entertaining sidenotes thrown in.

How, without ruining the book (and The Gone-Away World is not to be ruined lightly, or, for preference, at all) does one describe Wu Shenyang, Master of the Voiceless Dragon gong fu? Note – and this is important: Master Wu is not a ninja. Nor does Ronnie Cheung, foul-mouthed spirtual guardian and professional asshole, train ninjas. I will say no more. But read, and you will learn why.

I, geekily, am wont to describe the extreme cleverness of Harkaway’s writing in terms of other authors and their works – which is indulgent, as the man is clearly no mimic. Nonetheless: think Neil Stephenson and Cryptonomicon. Think Neil Gaiman and American Gods. Think Terry Pratchett and Night Watch. Think Jeeves and Wooster. Think the place between profundity and laughter. Think moments of awesome nerdity, heart-wrenching power and ripsnorting absurdity. Think lines, and the blurring of them. Think beauty.

By the photocopier, I cried. At home, I phoned my mother interstate to read her a passage, and laugh. It’s that kind of book. It’s hard to include my favourite moments here, although I’m sorely tempted. But like the gong fu of Wu Shenyang – and ultimately, the book itself – it’s about how you react. Sufficed to say that if a dialouge on exploding sheep, the Matahuxee Mime Combine, the ultimate in ninjas vs pirates and a man called Gonzo Lubitsch don’t whet your appetite, nothing will.

Trust me on this: just buy the damn book. Read it. Love it. Reccomend it to friends, relatives, co-workers and people you met at the pub. Then read it again. And so one day, when the list of Modern Classics is reappraised, there will be at least one book near the top that you read voluntarily, and loved, and get why it’s listed.

Really. It’s that sort of book.