On the surface, City of Saints and Madmen is a collection of short stories set in the fantastic city of Ambergris, stories suffused with sorrow and wry humour, some of them straightforward, others told through various metafictional conceits and devices. On the surface, we have four novellas and an appendix of sundry shorter delights. But apart from the fact that each story is an absolute nugget in its own right, there's much more going on here in the way these tales relate to each other. As the novellas progress, various fake historical glossaries, academic footnotes and art history interpolations are used to make Ambergris far more rounded and real than most fantasy backdrops, building VanderMeer's city of musicians, poets and sinister mushroom-dwellers in the reader's imagination until in the last of the four novellas we are taken right through the looking glass. In an insanely ambitious move reminiscent of Alasdair Gray's Lanark, or a writer such as Borges, fact and fiction are flipped inside-out and the reader is plunged deep into a world all the truer because it is given to us through the artefacts of Ambergris --illustrated chapbooks, monograms, bibliographies, magazine clippings or lunatic's notes. Metafiction can be tricky in its tricksiness, but VanderMeer pulls it off wonderfully. In a way this becomes a novel with the reader himself as the protagonist, a traveller wandering through VanderMeer's strange, dark, literary vision. And, lit with flashes of sheer brilliance, VanderMeer's Ambergris is more than just worth a visit. This is a must-read book, a delightful treat for the fan of fantasy as a genre, for those who enjoy Angela Carter, Gabriel Garcia Marquez or any of the Magic Realists. In the end this book is for anyone who likes their books intelligent, playful, comic, tragic and with a vision just a wee bit skewed from the norm.