Style
Harrison is stylistically an Imagist and his early work relies heavily on the use of strange juxtapositions characteristic of absurdism. His work has been acclaimed by writers including Angela Carter, Neil Gaiman (who has called him "a Zen master of prose"), China Miéville, and Clive Barker, who has referred to him as "a blazing original". In a Locus magazine interview, Harrison describes his work as "a deliberate intention to illustrate human values by describing their absence."
Many of Harrison's novels include expansions or reworkings of previously published short stories. For instance, "The Ice Monkey" (title story of the collection) provides the seed for the novel Climbers, the novel The Course of the Heart is based on his short story "The Great God Pan". "Isobel Avens returns to Stepney in the Spring" is a short version of the story expanded as the novel Signs of Life; the short story "Anima", first published in Interzone magazine, also forms one of the central thematic threads of Signs of Life.
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Famous quotes containing the word style:
“The habit some writers indulge in of perpetual quotation is one it behoves lovers of good literature to protest against, for it is an insidious habit which in the end must cloud the stream of thought, or at least check spontaneity. If it be true that le style c’est l’homme, what is likely to happen if l’homme is for ever eking out his own personality with that of some other individual?”
—Dame Ethel Smyth (1858–1944)
“As we approached the log house,... the projecting ends of the logs lapping over each other irregularly several feet at the corners gave it a very rich and picturesque look, far removed from the meanness of weather-boards. It was a very spacious, low building, about eighty feet long, with many large apartments ... a style of architecture not described by Vitruvius, I suspect, though possibly hinted at in the biography of Orpheus.”
—Henry David Thoreau (1817–1862)
“To write well, to have style ... is to paint. The master faculty of style is therefore the visual memory. If a writer does not see what he describes—countrysides and figures, movements and gestures—how could he have a style, that is originality?”
—Rémy De Gourmont (1858–1915)