There’s something great about a book that embraces a constricting, careful conceit and finds a way to make it work, telling a story that couldn’t be told any other way. (For a great example of this, see Joe Hill’s superb short story “Twittering from the Circus of the Dead”.) What’s even better is when the conceit is instantly appealing, and Will Madden’s The Killbug Eulogies manages to do both. The idea here is simple: in a war initially reminiscent of that in Starship Troopers, soldiers are asked to deliver eulogies for the fallen, and the book consists solely of those eulogies, with no outside context. That’s a great idea from the get-go, but Madden really runs with it, creating, in effect, a series of short stories that collectively make up a larger arc, story, and novel.
Even better, though, the disconnected nature of the novel allows Madden to take on a wide variety of modes, tones, and ideas, ranging from hilarious to darkly satirical, from reverent to melancholy, from profane to sacred, and sometimes all of them at once. Within pages of the first eulogy beginning, we’re introduced to a soldier½ named Oogo (whose name was supposed to be Hugo, but the letter H was under strict rationing for the war) whose addiction for video game achievements leads to his death as he strives to cap the leaderboard for harvesting the left hand of the bugs. The result is gloriously silly and funny, making digs at so many social trends while still building its world, but it doesn’t prepare you for the next one, or the one after that, or the one after that, each of which finds their own voice, their own themes, and their own sensibility.
Sometimes, that can be a problem. Madden occasionally lets his eulogies turn into exposition, and it feels like he loses track of the thread, particularly in a late eulogy which gets into a long story thread about a captured bug who serves as a poet of sorts. It’s a great story, but gets away from the book’s conceit, and feels like it’s information he wanted to convey but couldn’t quite do organically. Similarly, those disconnected stories can lead to confusion – it’s not clear for some time that each of these eulogies is actually done by the same soldier, even when the tone and verbiage changes drastically in some of them.
And yet, those are both forgivable flaws, given how engaging, how funny, how rich these stories all are. Taken as a whole, Madden’s creating a complicated world, one that only slowly reveals its nuances and unreliability as it goes along. What seems like a cut and dry military conflict reveals itself to be something messier and more savage; the bugs rapidly become more than just cannon fodder; and our heroes…well, there may be a reason there’s so much depravity in these stories. And all of that doesn’t even get into the final chapter of the book, where Madden changes our perception of the whole book with some great – but completely fair – revelations that pull together all sorts of loose threads into a coherent whole, all without ever dodging the dark and silly humor that the book does so well.
The Killbug Eulogies isn’t just great science-fiction, though it’s undeniably that; Madden may seem like he’s just making jokes at first, but by the time you reach the end, you’ll realize just how sprawling, how complex his world building has been, even if it’s only carefully revealed. No, it’s also fantastic – and genuinely funny – satire with a dark bent, a thoughtful take on war, and a great piece of writing, one where form and function are intertwined in a way that leads you to realize that this book couldn’t have been done in any other way – at least, not without being this good, this fun, and this rich.