Monthly Archives: September 2022

Losing Cultural Context

I find it fascinating how knowledge and context can slip away and vanish from cultural knowledge. This has been demonstrated with YouTube reactors and 1973’s The Exorcist.

In the film Father Lankester Merrin and elderly priest and archeologist played by a 40 something Max Von Sydow repeatedly with shaky hands takes tiny white tablets that he carries with him everywhere.

No audience member in the 70s need a word of exposition to understand the meaning those actions. Merrin suffers from severe heart disease and takes nitroglycerin tablets to treat his heart.

And I can’t think of a single YouTube reactor that intuitively understood what the filmmakers communicated when Merrin took his pills or what was being established for the film’s climatic final act.

Times change, culture moves one, and what was common knowledge to one generation is a mystery to another. It makes me wonder what I am missing from stories, movies, and books from previous generations. What did they take as universally understood that passed me by without any impact? What are we creating today so certain of our intention and meaning that future generations will misunderstand or fail to notice at all?

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Not Quiet “Rosencrantz and Guildenstern Are Dead”

In Stoppard’s play and film adaptation Rosencrantz and Guildenstern Are Dead the central conceit is that we follow these two minor characters from Hamlet, occasionally witnessing their scenes from that tragic play but mostly seeing them ‘off stage’ and using that device to explore the meaning of life and art.

Stoppard produced in the play and in the film a piece that uses comedy to interrogate serious question of life and coming next month to Hulu a comedic film uses the same trick for what appears to be purely comic effect.

Rosaline like Rosencrantz and Guildenstern Are Dead uses a minor character from one of Shakespeare’s plays to create a new point of view from which to watch the tragedy unfold. This time the play is Romeo and Juliet. This time the minor character is one who was mentioned but never actually seen in the text, Rosaline, the girl Romeo professed to love and adore before his ill-fated meeting with Juliet. Now spurned by her Romeo, Rosaline conspires to win her love back.

I don’t hold out hope for high art, but I’ll watch it on streaming for amusements sake.

 

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My Novel Vulcan’s Forge

March of 2020 saw the publication of my SF/Noir novel Vulcan’s Forge by FlameTree Press. Sadly, being published the week the world goes into shutdown for a once a century pandemic did nothing for the book’s sales. Still, I believe in the book and for those who are interested here’s some things about this novel.

Deep Backstory

By the end of the 21st century advances in computer sciences produced true artificial intelligence, along with automated manufacturing, advanced 3D printing, and practical fusion power. Instead of ushering in a period of expansion these technologies became the means by which humanity survived a planetary cataclysm. A rouge brown dwarf drifting thru interstellar space was discovered with a trajectory that carried through the inner solar system, disrupting all the rocky planets and close enough to eject Earth from the solar system.

Humanity launched solar sail arks carrying sperm and egg cells, fully capable artificial intelligences, and automated manufacturing equipment to save humanity by planting it on scores and scores of target worlds throughout the local stellar neighborhood. Due to the advanced technology and manufacturing techniques the cost of an ark was low enough that private groups, religious organizations, and loose confederations could launch one to preserve their culture and people.

Vulcan’s Forge takes place on a colony, Nocturnia, whose founders were fixated on racially diverse urban Americana of the 1950s. Like all who become focused on nostalgia their view of the past was not entirely historically accurate but rather a more romanticized and idealized view of that period in American history.

The Story

Jason Kessler helps create the social and cultural norms of Nocturnia by carefully curated film and television preserved in the digital storage of the ark that founded the colony. However, Jason himself find the conformity and repressed sexual mores of his colony stifling, not wishing to marry young and produce a brood of children to re-populate the species. He would rather

Flame Tree Publishing

enjoy to banned films labeled ‘anti-social’ and live a life of pleasure, but the colony’s surveillance and enforcement of their morality makes this impossible.

When Pamela Guest sweeps into Jason’s life everything changes. Contemptuous of Nocturnia’s morality and seeming immune from its enforcement Pamela introduces Jason to the possibility of everything he had ever dreamed about doing and wanting. Jason also learns that there is a secret criminal underworld to the colony and soon he and Pamela are fighting to survive as darker conspiracies than mere criminality threatens Nocturnia.

As a traditionally published novel Vulcan’s Forge can be ordered from wherever books are sold. I am including links to San Diego premier specialty bookstore Mysterious Galaxy along with links to Amazon.

I am also including the YouTube video of myself reading the novel’s prolog.

Mysterious Galaxy Paperback

Mysterious Galaxy eBook

Amazon Paperback

Amazon eBook

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The Unlearned Lesson of Black Panther

2018’s Black Panther, written by Ryan Coogler and Joe Robert Cole, and directed by Coogler, was Marvel’s expansion in Afrofuturism exploring a mythical African kingdom, Wakanda, with incredibly advanced comic-book technology and wholly untouched by historical colonialism. An incredible box office success Black Panther gave a new myth to millions around the world while exploring the theme that isolationism, both for individuals and nations, solves no problems but merely leaves them to fester and grow. Its lesson that through interconnectedness can we heal the harms of the past is a valuable one.

However, there is another lesson in the plot of the film that none of the characters learned or even took note of its existence.

(Some spoilers follow)

After Erik “Killmonger” Stevens (Michael B. Jordan) defeats T’Challa (Chadwick Boseman) in ritual combat and claims the throne of Wakanda as his own he launches a campaign to wage war on the rest of the world seeking to ‘liberate’ the African diaspora around the globe. (I place ‘liberate’ in quote because his statement that ‘the sun will never set on the Wakandan Empire’ makes clear not only the historical analogy that he has become the colonizers he so despises but that liberty’ is far from his goal.)

Despite the Wakandan royal court knowledge that this will lead to millions upon millions of deaths around the world King Killmonger’s plan is put into immediate action. The King of Wakanda is an absolute monarch, ruling by decree and without any limitation.

T’Challa and the other heroes of the tale foil Killmonger’s plan for a global war and return the film’s protagonist to the throne.

But there is no hint in this film or the ones that followed in the Marvel Cinematic Universe, that the Wakandans even took notice that an absolute monarch is a plan for disaster.

Never create a political power you aren’t willing to see in the hands of your enemy.

There are other kingdoms in the marvel Universe, the films have already introduced us to Asgard, and it certainly looks like the sequel to Black Panther will introduce thew kingdom of Atlantis and it is doubtful that either will see limitations of the king’s authority, but Wakanda and Black Panther is different than those other stories and settings. Black Panther is a commentary on the real world, real history, and real evil that was visited upon the African continent. While superheroes with their magical and physics defying powers are modern fairytales and myth if you make such a direct and applicable statement on modern political systems and power then ignoring the dangers of absolute monarchy, of too much power concentrated into one person hands, is a disservice.

The unlearned lesson of Black Panther is power must be distributed and checked or will eventually be abused.

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Thoughts on Heinlein’s Starship Troopers

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One of the most divisive science-fiction novels published is Robert A. Heinlein’s Starship Troopers. Written as one his juvenile novels it was rejected out of hand by the publisher and immediately upon publication by another house stirred intense political debate that carries on to the present day. My meager thoughts in no way will settle this argument and for those firmly fixed in their camps nothing will dislodge them.

Troopers posits a future where humanity has spread out to the stars following some war with itself that left in its wake a unified government ending unrest and ushering in a period of

G.P. Putnam’s & Sons

prosperity. The political system of this unified government is a democracy, but one where the right to vote and run for office, the civil franchise, is restricted solely to those who have served in the armed forces.

This ‘only veterans’ franchise is often labeled by the novel’s critics as ‘fascist’ and a system of military rule. While I think the system proposed actually would never work in practice and the author hand-waved his way past serious political and practical issues, both critiques miss the mark.

Fascism has no simple, agreed upon definition. It is often hurled as a charge towards a political system, movement, or person that someone intensely disagree with. The left hurls it at the right and right throws it back. Setting aside the definition of childish tantrums, to me Fascism is a species of the political right, obsessed with a distorted and false view of history, former ‘glory,’ centralized authoritarian government, and most importantly of all the philosophy that the individual’s only value is what the state can extract from them.

The novel gives very little to no description of the culture surrounding its political system. What little history that is presented is fed to the reader as exposition to explain the political system and how it arose with nothing that glorifies some idealized historical vision.

Equally unexplored is the actual details political system. We know that military service is required for the franchise and that active-duty personnel do not have the vote but how centralized is thew power is a question that is never addressed. The closest the reader comes to understanding the culture and the government is the barbaric punishment of flogging is a common judicially ordered punishment. This predilection for cruelty as punishment is the most fascistic aspect of the novel’s setting.

Many critics point to required military service as a fascistic aspect, but I think it doesn’t meet that criterion. Fascist regimes such a Fascist Italy or NAZI Germany treat the people as something that had an obligation to the state. An obligation that could not be refused. Their service to the state was something required not chosen. The system in Starship Trooper is an inverse of that philosophy. Service is given, always at the choice of the person, and in fact the novel gives the impression that people are dissuaded from choosing to serve as more than one character attempts to talk to the protagonist out of volunteering. This plays into the novel’s philosophy of graded level of morality and I’ll speak to that and its error later in the piece. The core central issue here is that in a fascist setting the power is with the state, a state that compels service and here the power is with the individual choosing to serve.

One of the novel’s many exposition heavy scenes also display the frantic handwaving to make this political system work. An instructor asks the class why does the system work and after the students offer possible answers based on the limitation on the franchise, better people, chosen people, and so on, the teacher simply answer it works because it does. Utterly circular logic. It works because the author wants it to work.

Elsewhere in the work it is put forward that there are levels of morality with morality defined as the willingness to put oneself in danger for a goal or purpose. The lowest and most base level is self-interest. ‘I look out for number one and no one else.’ The system then progresses through family, friends, and loved one with the ‘highest’ level of morality being expressed when someone serves and risks all for their community.

Heroic self-sacrifice is a common trope in adventure fiction and something that is nearly universally admired. We need to look no further in the genre than Spock’s solution to Kobayashi Maru test in The Wrath of Khan to see this presented as noble. That said it, in my opinion, is a lousy system to base your politics upon.

The logic in Starship Troopers is that those who volunteer to place their lives on the line by serving in the military are exhibiting a ‘higher’ level or morality and thus are ‘worthy’ of the franchise and political power. This is flawed for several of reasons.

First, while the novel goes out of its way to make clear that no one can ever be denied the chance to serve it is also clear that military discipline is in effect and people are ‘mustered out’ of the service and thus forever lose the chance to exercise the franchise. That means on a practical level the military while forced to accept every as a recruit can still eliminate anyone it does not want to have the franchise. It is far too easy for a military to expel members to use service as a qualification for the franchise.

Second, it presumes the motive for joining the military is a desire to serve. This ignores the possibility of enlisted to learn a trade, experience adventure, escape an unpleasant home, or even to live the thrill of combat and killing.

Another reason this is a terrible idea is that it sees the only meaningful way to serve your community is by way of the military. Teaching, local services, research, and healthcare, the last having its own unique dangers all too well know with the current COVID pandemic, are all ways to place your own needs second to your fellow citizens’.

While I cannot agree with those who hurl ‘fascist’ at the novel’s philosophy, nor can I endorse it. Between handwaving and some very broad and simplistic assumptions it simply ignores the world as the way I have experienced it working.

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My Mysterious Comedic Weekend

Went out to the cinema twice this weekend, both times to see comedic mysteries.

Saturday, I saw Confess, Fletch the third film to be adapted from the series of novels centered on Investigative Reporter I.M ‘Fletch” Fletcher, (Fletch and Fletch, Lives in the 80s both starring Chevy Chase.) with Jon Hamm as Fletch.

Fletch finds himself. while trying to recover stolen art as part of a bizarre kidnapping, suddenly a suspect in a young woman’s murder. Dodging Boston police and an assortment of eccentric characters Fletch untangles the confusing case while retaining his own mysterious secrets and motivations.

Hamm worked better for me in this role than Chevy Chase, but that may simply be my own bias at work. I have never been a real fan of Chase’s comedy and tend to find most of his project forgettable. Over all I found the film a perfectly acceptable hour and a half diversion that kept me entertained and amused. I hope that Hamm is given more opportunities to play this character in further feature films.

Sunday my sweetie-wife and I went out to catch a screening of See How They Run, a comedic take of Agatha Christie mysterious set in the early fifties around the stage production of The Mousetrap. The film mixes reality. Richard Attenborough starring in the play and the production incredible longevity as a stage production. When the director of a proposed film adaptation is murdered and his corpse left on the stage Inspector Stoppard (Sam Rockwell) and novice constable Stalker (Saoirse Ronan) are thrown together to solve the mystery.

Self-aware and playing at the 4th wall See How They Run hangs multiple hats on worn tropes of the mystery genre but sadly for me most of the humor provoked only smiles and rarely laughter. (Though the first flash-back was actually funny.) Adding to my inability to lose myself in the story is the cast of Harris Dickinson as Richard Attenborough. Dickinson is s shade over six feet one in height while Attenborough, perhaps best known to modern audiences as John. Hammond from the Jurassic Park franchise, was just 5’7″. Dickinson towering over the rest of the cast continually pulled me about of the film’s reality. But the movie’s biggest failure was that the comedy simply wasn’t funny enough. Rockwell, a performer that makes scenery chewing a treat for audiences, gave a restrained and quite performance. Ronan continued to be charming and a delight to watch but the plot needed to be centered on her if she were to carry it and it wasn’t.

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Enigmatic Estonian Folk Horror: November (2017)

By way of the YouTube channel Dark Corners Streaming Review my Sweetie-Wife and I discovered the Estonian film November.

Adapted by writer/director Rainer Sarnet from the novel Rehepapp ehk November by Andrus Kivirähk November set in an isolated Estonian village in the 19th century and the story

Homeless Bob Productions

principally concerns a love triangle between Liina (Rea Lest-Liik) a peasant girl, Hans (Jörgen Liik) a peasant boy Liina adores, and the baroness (Jette Loona Hermanis) daughter of the local baron and with whom Hans is deeply infatuated. Both Liina and Hans, desperate for the love and attention turn to supernatural aid to win the attention of their loves.

Films often break down into two vast categories when dealing with the supernatural. In one case the supernatural is in intruding, unknown, force that shatters to the existing order and introduces chaos which by the end of the tale must be dispelled to restore or create a new order. A Vampire moves in next door and until it is destroyed there is chaos.

The other great category is a subtle one where the events can be interpreted as possibly taking place in reality, though the evidence is quite thin, or possibly the tale is the product of a deranged mind and there is no supernatural at all. Are there ghosts haunting the children or has the nanny gone mad?

November defies both categories.

From the film’s opening scenes, it is clear that the supernatural exists and is a part of the peasants daily life. The dirty, squalid, and tenuous lives of the peasants is infused with the supernatural. Ghosts, werewolves, devils, witchcraft, and animated golem-like creations composed of farm equipment are all routine and accepted by the peasant as ways of surviving their brutal environment. Visitations by the dead is as routine as stealing from the Baron.

Curiously the supernatural’s integration doesn’t extend to the local lord. At no point in the story does the Baron or his daughter make use of or acknowledge to spirit world with the same level of acceptance as the peasantry.

Cinematographer Mart Taniel captures the world of November is stark, high contrast, black and white. Fog glows with a spectral inner light, moonlight is diffuse, and the shadows are dark, deep, and threatening. I suspect that Taniel and director Sarnet also employed filters in a manner similar to Eggers’ The Lighthouse so that the skin of the peasantry took on a dark and unhealthy appearance while keeping the nobility clean and pristine further dividing the classes.

November is far from a standard horror film. It is atmospheric and moody focusing more on tone that scares. It almost but not quite follows a nightmare or dream logic reminiscent of David Lynch but with a more linear and straightforward narrative. It is not a film that gets your adrenaline pumping and one that sets your heart racing, but one that rather lingers in your mind like a half-forgotten dream.

November is available on VOD, Kanopy in the US, and Amazon Prime in the UK.

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A Bittersweet Time

For me, coming to the end of an artistic project always carries waves of mixed emotions. There’s the high of actually reaching the end, sharing the exctement and thrill of the conclusion with the characters I have spent so much time with. Throughout the writing of a story, short or long, I churn up in myself the same emotional states of the characters I am recounting and creating. The sweeping climax as everything comes to head at the end is often the most emotionally engaging period for me.

There is also a sadness as the journey ends. Writing a long form piece like a novel swells this emotion. The characters, the settings, the very nature and tone of the work become a part of daily life. Even when I am not actively at the keyboard putting words in a line my mind is fluttering about their scenes to come and how they might be crafted and feel. All of that comfortable familiarity vanishes with the end of the project. What had been a stable, predictable schedule of life is no more and as a creature of established routine and habit that is always unsettling.

Finally, there is fear.

Of course, some of that fear is directed at the completed project. It’s about to be sent into the wider world, a cruel cold world of querying agents, submitting to editors, with the near certainty of impersonal rejection or outright dismissal without reply.

But some of the fear is directed at the nascent project already forming. The new work with vague characters and setting, where the tone is already known but achieving that is only a possibility. One that might not be reached. Will the project work, will it come together, or might it like others, fail to take flight and crash like an overladen bomber from the Second World War?

This is the time I am in now. My military SF novel is complete. 100,000 words following an American serving in the European Union’s star forces. It held suspense, fear, and surprises for me but now its time at the front of my mind has come to close. Now it is time to fully commit to the new story, the new characters, and to set fear aside and march into the new battle.

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Political Thoughts

The world is on fire but there is hope. Remember that the essential message of The Lord of the Rings is that despair if a failing because it presumes a determined future, and no one can know the future where unlikely events can produce unlikely and joyful outcomes.

The War in Ukraine

Certainly, over the last weekend things have improved for the Ukrainians. Russian lines have shattered in some sectors and there are reports that Ukrainian forces have reached parts of the Russian border. But the war is not over. We may, looking back with the advantage of history, see this as a turning point or we may see it as another battlefield fluctuation. What we need to do is continue supporting the Ukrainians in their fight with weapons, money, and morale.

American Politics

The political system of the United States is also aflame and here the structure is fully engulfed. The slow steady poisoning of the Republican party with racists and authoritarians has brought that body politic fully into its diseased state. From New Hampshire to Arizona the GOP is infected, controlled, and Led by people who have rejected democracy. The former president did not create this situation, he is a product of the infection not its cause. As someone who was a registered Republican from 1980 thru 2003 it boggles my mind to see the party in its current state. If you are someone born in the 90s this may seem ‘normal’ to you and that the GOP has merely thrown off the mask and revealed its true nature, but it doesn’t look that way to me.

To me it is far stranger and far more extreme than that.

In the 80s conservatives often anti-nuclear power and weapons movements ‘watermelons,’ because they were ‘green on the outside and red on the inside.’ The Soviet Union helped fund and promote those groups and movements to disrupt the West and NATO. These groups and associated travelers were considered foolish and gullible by the right for how they accepted Soviet propaganda as truth with any healthy skepticism and now those roles have been reversed. It is the conservatives embracing and promoting Russian propaganda with qualm or reservation. It is the conservative pulling Russian aggression to their bosom and declaring it just and good. It’s nearly incomprehensible to witness. Literally for decades I have heard conservatives rant and snarl about a supposed ‘deal’ from Edward Kennedy to take Russian assistance in a bid for the presidency. (A tale that has but one unverified source.) And now they openly proclaim that they would rather be Russian than a democrat. They turn a blind eye to mountains of evidence of Russian interference in American Politics. For those of that lived through the final stages of the Cold War this is a topsy-turvy as when Kirk found himself in the Dystopian Terran Empire. I hope that this year’s election defies the historical norms, that young people, so fickle in their off-year elections, arrive in droves and surprise us with Democratic victories, but even if that doesn’t come to be, the fight goes on and I will not despair.

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Sunday Night Movie: War of the Satellites

Exhausted from the heat and finishing my latest military SF novel I opted for something that wouldn’t tac the brain cells and settled on Roger Corman’s 1958 SF film War of the Satellites.

Inspired by the public interest frenzy and terror following the USSR’s 1957 successful orbiting satellite Sputnik, Corman conceived filmed and edited this feature in 90 days.

War of the Satellites open with Project Sigma’s ninth attempt to place a crewed satellite into Allied Artistsspace. Once again, a mysterious force destroys the vessel and the project leader, Dr. Van Ponder (Richard Devon) vows to continue the program despite opposition from other nations over the financial costs. (No one mentions or seems to care about the cost in lives of nine destroyed crewed mission.) Assisted by loyal scientist Dave Boyer (Dick Miller) and mathematician Sybil (Susan Cabot) Van Ponder fights the system for funding for a 10th attempt, one he plans to captain himself.

The nature of the mysterious force is revealed when an alien message probe arrives announcing that the Earth, due to humanity’s childish nature, has been placed under a quarantine and that all launches will be destroyed. With the core conflict established, humanity opposing the unseen alien’s blockade of space, the film unfolds with the 10th launch attempt progressing and the aliens further attempts to stop it.

Made on a budget of about 70,000 dollars and with a brief running time of 66 minutes War of the Satellites is a literal B-Picture, released as a second feature with Attack of the 50 Foot Woman. Only a year after sputnik and the same year the United States placed its own satellite Explorer into orbit around the Earth this movie has an amazingly optimistic view of humanity’s push into space. Not only is the technology absurdly advanced, three launches within minutes of each other that assembles a fully functional large spacecraft but also one capable of reaching the speed of light, but the politics of the story is even more optimistic with the project operating under the multinational authority of the United Nations.

War of the Satellites also has the earliest onscreen performance I have seen yet of Roger Corman. While later in life he often made appearances in the films from directors whose careers he helped launch, as director of the FBI in The Silence of the Lambs and as a Senator in Apollo 13, this is the first time I can recall seeing him, as a one scene launch controlled, in one of his own pictures.

This film is by far not a great movie, but it is far from the worst Corman ever produced and directed. For those who enjoy cheesy optimistic SF 50s movie it is worth watching at least once.

War of the Satellites is currently streaming on Shout Factory!‘s commercial supported streaming service.

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