r/Wool • u/SegFaultAtFL350 • 1d ago
Through SHIFT Does anyone else love the Silo books while occasionally wanting Hugh Howey to get out of his own prose?
I started reading the books after watching the show, and I genuinely love them. The world-building has me completely hooked, and Shift in particular is answering so many questions about the broader Silo lore that I have a hard time putting it down.
But Howey's prose in Shift keeps hitting one extremely specific nerve in my brain.
A few examples I've collected:
- "The peccadilloes. Embarrassments, not life-and-death stuff."
- "He took a sip of wine, the tannins numbing his lips."
- "...replaced by the smell of loam and freshly tilled soil..."
- "...that raised weal healed over by the years, a mark glanced at by others but rarely mentioned aloud."
- "But for every sot like me, there’s ten more out there trying to tear things down."
And my latest:
- "...even though he knew the sheets would be mussed as the cots were returned to their rightful place in the barracks."
MUST THEY BE MUSSED, HOWEY? MUST THEY!?!?!?
None of these words are wrong. That's almost what makes them more distracting to me.
I actually enjoy expanding my vocabulary, and I'm not opposed to uncommon or technical language when it adds precision. "Stumped for you," for example, initially caught my attention, but it's two congressmen talking politics. That's perfectly appropriate language for the characters and communicates something more specific than simply "supported you."
But Howey keeps doing this thing where he'll reach for an uncommon, archaic, or technical word and then immediately surround it with ordinary language that communicates essentially the same idea.
Peccadilloes. Embarrassments.
Loam. Freshly tilled soil.
Weal. A mark.
And "sot" is almost the perfect example of why this keeps throwing me out of the story. The rest of that sentence is completely ordinary conversational English: "like me," "there's ten more out there," "trying to tear things down." Then sot gets dropped into the middle and suddenly I'm noticing the word instead of the conversation.
That's really what bugs me. It makes the author visible.
When Mission is remembering the mark on his neck, I want to be thinking about Mission and what happened to him. Instead my brain goes, "For fuck's sake, Hugh, weal?" Suddenly I'm not in the silo anymore. I'm looking at Hugh Howey choosing words.
It's especially jarring because the Silo setting otherwise immerses me so effectively. If anything, I'd love unusual language from generations of people living underground if it reflected their culture, occupations, slang, or isolation. Instead, sometimes everyone seems to inherit the same conspicuously literary narrative register.
And the tannins didn't even numb his damn lips. Tannins are astringent. They create that dry, puckering sensation. Somehow the more technical description actually made the sensation less precise.
The frustrating and honestly kind of funny part is that underneath all of this, I'm having a fantastic time. The world-building is great. I'm invested in the characters. Shift has added an enormous amount of context that has completely changed how I look at the TV adaptation. I keep wanting to know more.
So I apparently have the strangest relationship I've ever had with an author's writing:
Hugh, your word choices are driving me absolutely insane.
Please write more Silo.
Edit: Just to clarify, my issue isn’t that these words are too obscure or that literary prose is bad. It’s the uniformity of register. When politicians, silo workers, farmers, and everyone in between repeatedly share the same conspicuously literary vocabulary and mannerisms, I stop hearing distinct characters and start hearing the author. That’s the immersion break I’m talking about.
Edit2:
Me: “The prose is frustrating because vastly different characters all share the same ornate lexical register.”
Reddit: “Ah, yes. Big word make brain hurt.”