Author Archives: Bob Evans

Return of the Political Watermelon

If you were political knowledgeable during the 1980s you may know what it meant when an environmental activist group was called a watermelon. This charge implied that while the group may have appeared Green from the outside inside with was Red, as in Communist. Usually this charge was hurled with circumstantial evidence that Soviet Intelligence, the KGB and the like, either created the group or had seriously penetrated it, turning it into another arm of the Soviet’s attack on the West. During the Cold War this was a charge had to prove but once the Soviet Union collapsed and secrets spilled out many of the charges were substantiated.

Any good intelligence officer will tell you that you cannot create division in a nation or culture but you can exploit naturally occurring ones. The general members of these environmental and anti-nuclear groups were not the Kremlin’s puppets. These people sincerely believed in their cause, they were concerned about environmental degradation, nuclear waste, and the terrorized by the concept of nuclear war. Their fears and concern were hijacked by a hostile foreign power that did not share their concerns but rather used them as a tool to advance selfish self-interests and authoritarian rule around the globe. The fall of the Wall and the ending of the Cold War consigned calling a group a ‘watermelon’ to the ash heap of history.

America’s culture wars, xenophobia, and sharp political partisanship have created fresh societal fractures for the Kremlin, now under the control of oligarchs instead of communists, to use to divide and weaken the West. Master of human based intelligence the Kremlin’s agents moved against the western democracies and from Brexit to the 2016 American Presidential election they scored hits, wounding, us, their global adversaries. The full extent of their political interference in the US elections is still unknown, the investigations are ongoing though domestic political actors, knowingly or unknowingly, aid the Kremlin’s objective with obstruction, returning us to the 80s where activist political organizations, with resources and aid from our geo-political rivals, undercut our democracy and threaten freedom around the globe. China, even as it retreats further in despotism, is rising, launching ambitious projects for global economic dominance with the decade, Russia invades her neighbors and drives wedges between NATO’s member and her allies, never this century has American leadership been more vital and more absent.

Russia pours money and resources into America sharpening our divisions, turning us on each other and today the political ‘watermelons’ are Facebook groups and memes, partisanship over patriotism, and the destructive pursuit of power absent principles. This may very well be an infliction point in history and what we do and how we do it will shape the future.

Choose wisely.

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Expertise is not Transferrable

One of the great mistakes people make when taking advice or information is the make the assumption expertise in one field confers some sort of basic level of competence in another. Because someone is a talent astronomer does not mean that understand the dynamic of nuclear war, because someone is a gifted businessperson does not mean that understand the complexities of governance, and yet this sort of transference of expertise happens again and again.

Recently I came across a YouTube video explaining that Dr. Jordan Peterson, a Canadian Academic with advanced degrees in psychology did not understand Nazism. Watching the video, which utilized clips from Peterson 2017 lecture series Maps of Meaning, specifically, lecture 11The Flood and The Tower, I suspected that the clips had been taken out of context. The sheer level of error in the statements by Dr. Peterson seemed beyond belief for a person with a university education.

They were not out of context.

Here is the section of the lecture, just over five minutes, where Peterson diverts from the subject of the lecture to speak about Nazi Germany.

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Here are my major objections to Peterson’s opinions.

1) ‘Hitler should have enslaved…’

The Nazis most certainly enslaved their ‘undesirable’ (Jews, Homosexuals, Roma, etc.) Even knowledge gleaned from popular culture such as Schindler’s List should be enough to make this basic knowledge. For those with just a little more understanding of history there is also the famous legend above the gate to history’s most infamous of death camps, Auschwitz, Arbeit Macht Frei, ‘Work Sets You Free.’ The Nazis worked to death the people in the camps and those that could not work they murdered. The V2 factories in addition to raining death on London and other allied cities also boasted one of the most lethal areas in the concentration camp system. It is shocking that a university professor is ignorant to all of this.

 

2) ‘… Win the war and then…’

Peterson’s argument that the Nazi’s should have won the war and then turn to murder ignores several critical factors. First and foremost is that the Nazi’s anti-Semitism was centered to their political and cultural worldview. The elimination of all Jewish people and influence from German culture, German Life, and German lands had been a stated goal for some time. Quite simply for the Nazis murdering of the Jewish population was a victory condition. It has also been argued and with some validity I think that the Nazi accelerated the mass murder as a way to keep the German’s population food rations higher. The lesson of the First World War where Germany was effectively starved into submission was one ruthless applied to the Second World War.

 

3) ‘… Significant military resources…’

The military resources diverted to the Nazis campaign of mass murder had no material effect on the war’s outcome. German intelligence seriously underestimated Soviet military strength and with the manufacturing base moved east beyond the war’s destruction, coupled with American entry into the war, doomed German to defeat.

 

4) ‘ … Fascistic societies are Fascistic at every level…’

Peterson referred to Daniel Goldhagen’s book Hitler’s Willing Executioners: Ordinary German and the Holocaust. I have not read this book but there are a number of good reviews and takes on this work. What is clear is that Goldhagen’s thesis is that Germany held a particularly virulent strain of anti-Semitism that primed the German population to be turned easily murderous. That’s an interesting and not undisputed hypothesis but it is not the same things as declaring a society, much less the German society, as Fascistic at every level.

As a political philosophy Fascism was founded in1915 and I am not sure how you replace an entire culture in just a dew short decades. I think it’s much more reasonable to think the Peterson is misrepresenting Godlhagen’s work. The poison of Anti-Semitism is far older than either Fascists or Nazis and it was merely a tool, a lever, by which the Nazi managed their murders and they found more than enough willing help far beyond Germany’s borders.

 

5) ‘ … Why do we assume that? …’

Perhaps the most stunning assertion in the entire digression is that possibility that Hitler never planned to win the war and that he actual aim, whether he was aware of it himself or not, was chaos and mass destruction. Certainly, in some case, on individual actions it may be best to determine actual motive from repeated outcomes, but applying this framework to single outcome events such as winning or losing a war strikes me as quite a stretch.

I do not think it was the Kaiser’s intent to destroy the German Empire but that was the outcome of World War I.

I do not think it was the intent of the Japanese government to subject their home islands to destruction and occupations but that was the outcome of World War II when they brought America into the conflict.

I do not think it was the intent of the rebellious Confederacy to end slavery but that was the outcome when they started the American Civil War.

I do not think it was Gorbachev’s intent to dissolve the Soviet Union but that was the outcome of his Glasnost policies.

It’s perfectly reasonable to accept that Hitler and the Nazis wanted to win the war and carry their murderous prejudices across all of Europe and beyond.

Expertise is not transferable and when someone moves beyond their field of training and specialization it is wise to subject their opinions and ‘facts’ to scrutiny.

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Movie Review: Ant-Man and The Wasp

Marvel Studios continues proving that their juggernaut of interlocking franchises as an unstoppable cinematic force with this weekend’s release of Ant-Man and The Wasp. Returning a lighter tone after the dark themes of overpopulation and scare resources presented in Avengers: Infinity War, AMTW deals the personal fall-out for Scott Lang, and his family, along with Dr Hank Pym and his family from Scott’s adventures with Captain America in Captain America: Civil War.

Having run afoul of the global empowered individual legislation The Sokovia Accords, Scott Lang is sweating out the final days of his house arrest while Doctor Pym and his daughter Hope, estranged from Scott, are fugitives refusing to abide by the accords. The Pyms discover that Scott holds the key to rescuing a long lost member of their family launching them into a desperate race against international arms dealers and a mysterious empowered villain.

Payton Reed returns as director and the short version of this review is if you enjoyed Ant-manthen you are likely to enjoy Ant-Man and The Wasp. Paul Rudd continue to bring is easy likable style to Scott Lang providing both an empathic character and a voice for the audience. Marvel’s special effects wizards again demonstrate mastery at their ability to digitally ‘de-age’ an actor in younger versions of themselves. I do find it curious that Marvel can create digital make-up and faced that transcend the uncanny valley and Lucasfilm’s attempt fell short rendering a Tarkin and Lea that were less than convincing.

This film does not deal with heavy themes and that is not a detriment. While I love movies like Captain America: Civil War it is good to occasionally go to a movie and simply have a good time, something that this movie delivered.

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Film Review: Hereditary

That’s going to leave a mark.

There are a lot of flavors of horror films, and that’s not even getting in a classic versus modern sensibility. Thee are monster movies, slasher movies, psychological horror movies, young people in peril movies, torture porn movies, devil movies, nut after viewing Hereditary I had to come up with what I thought of as a new sub-genre, emotional horror movies. Hereditary does not move by gross out or violence, it is not a film with a central unstoppable threat moving through the plot leaving a wake of corpses, but rather the film forces the audience to confront raw, tragic emotional power.

The focuses on a family grieving after the death of their grandmother, a complex woman who left behind a tangled web of secrets and emotional damage to everyone she touched. Her daughter, Annie is played by Toni Collette, is an artist specializing in realistic miniature dioramas, dioramas taken from her real life and a metaphor for Annie’s desperate need to control her life. With her mother’s influencing her family well after the grandmother’s death, Hereditary at first appears to be following in the tradition of horror literature such as The Turning of the Screw where events may or may not represent the character’s distorted point of view but by the middle of the second act a darker and more mysterious malignancy motivates the movie. This film has one of the most shocking act one to act two transitions I have witnessed and all of it down with off-screen violence and terror that plays out on the actor’s faces and their anguished screams. Truly for several minutes I expected the sequence to be a nightmare but eventually the film forced to me to confront it had really gone where it went.

Drawing on paranoia such as in Polanski’s Rosemary’s Baby and supernatural suburban invasion such as in Friedkin’s The Exorcist, and the inescapable fate of a Greek tragedy. Hereditary is a dark unrelenting film that eschews audience comfort and optimism for its artist vision.

This is by far not a film for everyone. Whenever there is a sharp divergence between the critics’ and general audience scores on aggregate sites such as Rotten Tomatoes such as with The Witch and with Hereditary, it often suggests that a film is more challenging than the usual fare and that is the case here. This is not a horror film for people in search of action, thrills, or escapism. (Not that those are bad things, I enjoy all three but it would be a poorer world if that was all there was to enjoying film.) With only a touch of snark I tweeted that Hereditary is a movie for people who find Black Mirror too optimistic.

I want to give a special shout out to the production design and the fantastic cinematography. This is one of the rare films where I noticed the color palette because it so perfectly fit the tone of the piece. Also director/screenwriter Ari Aster and cinematographer Pawel Pogorzelski creative and visually stunning mishmash of scale where the miniature looked massive and the massive looked miniature not only made for beautiful compositions but perfectly symbolized tone, theme, while keeping the audience off balance, critical

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The Bill Always Comes Due

Entropy drags the universe relentless towards chaos and debts always come due. This is a truth for politics as it is for anything else and no matter of hand-waving, wishful thinking, and verbal evasion can indefinitely forestall the bill.

It was many years ago when I started constructing a fiction setting where the USA had become a third rate power, trapped by its political passions and blindness into an interstellar power barely worthy of that title and here in 2018, though the reasons have changed the prospect has only grown.

Civilization grows from the bottom up. Billionaires, political leaders, and other elites rarely think of trail blaze radical new systems or methods. That which unsettles the status quo is that which endangers the current top of the pyramid and so the revolutionary change comes, most often, from those with great gains ahead of them and not from those with great losses on their minds.

To grow in ways that benefits society and not destroy or hinder it requires that the gains come from a desire to expand our horizons and not from a place of fear, rage, or hate. If you construct a system to traps people, robs them of hope, leaves them with only burning resentment and no hope for themselves or their children, then you reap a whirlwind of destruction when the system can no longer contain their passions.

If you leave people with only bad choices do not be shocked when the choices they selected are the ones that cause you the most pain, the most suffering, the one that fulfill rage.

You can protect your own, you can steal the food and the medicine, and the wealth, but eventually the bill comes due. Unless people feel that they have a fair chance they will eventually lash out and when that time arrives it will be too late to salvage society.

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Streaming Review:Trilogy of Terror

Part of my usual unwind just before bed is to watch either short videos, such as on YouTube or to watch a feature film in sections. Trilogy of Terror is perfect for this, while it runs an hour and a half; the trilogy section of its title comes from that fact that it is comprised of three short films. Trilogy of Terror was a made-for-TV movie broadcast in 1975 and starring Karen Black in all three stories. If you were old enough, as I am, to have watched the original broadcast you undoubtedly remember one aspect of this program, the Zuni fetish Doll. The story of Amelia chased about her apartment by the murderous puppet seared itself into popular culture and more than twenty years later when Joss Whedon scripted the episode Hush of Buffy The Vampire Slayer, he was hoping to craft the shock and terror that the Zuni fetish doll created. Truly the Zuni fetish doll is an exciting and generally scary bit of filmmaking. Lacking the budget for any sort of animation the production masterfully made do with fast editing, in a time before one could edit on a computer, strong point of view camera work, and, an aspect I think that gets overlooked for just how much it added to the film, Walker Edmiston’s fantastic, and un-credited, vocal work as the inarticulate raging voice of the doll.

But what about the other two short film that make up the trilogy?

While I remembered the Zuni warrior chasing Karen Black around her apartment, as will anyone else who has seen Trilogy of Terror, the other stories are literally forgettable. One deals with a mousy professor and her student that becomes obsessed with her, drugging her and forcing her into a sexual relationship until the inevitable plot twist. While the second story is about two sisters, locked in a terrible cycle of hate and revenge that also ends with a twist that was telegraphed from over the horizon and surprised no one who had seen these sorts of stories before.

If it had not been for the Zuni fetish doll this made for TV movie would have disappeared from out collection consciousness along with the made for TV remake of  Double Indemnity or the series Casablanca.

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The American WIP

Art is never finished, only abandoned. -Leonardo da Vinci

Anyone who has hung around writers or artists is familiar with the concept of WIP, the Work In Progress and da Vinci’s quote when coupled with the idea of the WIP leads us to the conclusion that all art is a WIP until it is abandoned.
While an artist is crafting their piece they may go through a number of drafts, revisions, and alterations as they search for the right expression of the motivating ideas. A work in progress has flaws, expression that in conflict with the ideals of the piece, sometimes you have to wave your hands around the troubles, sometimes you have to cut them out entirely, and sometimes you have to incorporate them, turning defects into admirable qualities. The artist must struggle to maintain a clear vision of their art, neither refusing to be dragged into despair by the faults nor allowing the beauty to blind them to the required work and corrections.
The United States of America is a social and political work of art and like all art it remains a work in progress. More importantly America is a collaborative work, all of use, left and right, majority and minority, are the artists working together crafting this monumental, lasting, and inspiring project. We suffer the same pitfalls of any artist as work. It is easy to see only the flaws in our history the terrible crimes committed by the artists before us and feel the temptation to burn the canvas in defeat and despair. It is also easy to see only the shining moments of greatness, to see only the ideals and be blind to real and continue pain falling short of those ideals inflict upon others. Both views are necessary and seeing the work in only one aspect leads to walking away, either because you hate the flaws or because you refuse to see the work that lies ahead, but the work waits for us. It is up to us to continue the craft of this amazing piece, this inspiring project, and to pass on to another generation of artists the vision of what is the United States of America,
Let us not abandon this art.

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Blast From the Past

For some reason today I got thinking about a submission from 1978. In 1977 Star Wars exploded across the nation and with a single blast from its turbo laser both reinvigorated media science-fiction and charted a new course. Part of that new course was a flood of space opera type adventures, including the 1978 television series Battlestar Galactica. At the time Galactica was the most expensive show ever produced on network television.

For several years before Star Wars, I had been writing and submitting SF short stories. I had also read, more than once, David Gerrold’s account of the production of the Star Trek episode, The Trouble With Tribbles.

Inspired by his tale, and shooting way way above my class. I wrote a treatment for an episode of  Galactica and using the library’s copy of the Writer’s Market, sent it off to an agency. It came back with a kind note informing me that the series had been canceled. What has caught my attention today is how similar in themes that early story idea is to some of my most current work.

Split into an A and  B plot the story opened with disaster befalling the fleets hydroponics vessels, a fungus that killed off all their oxygen generating plants. The story followed Starbuck piloting an expedition to a nearby system to acquire new plants with which to regenerate their stocks. (Apparently I hadn’t considered seed banks.) The expedition was under the command of Starbuck’s girlfriend, Cassiopeia. (Ignoring the fact that in the pilot she was a prostitute the series had turned into a ‘life tech.’) The main character conflict rose from Starbuck having trouble taking orders from a woman and having to learn a lesson on that front. The B plot followed a number of the main characters that had been evacuated from the Galatctica. (In order to save Oxygen reserves on the vital capital ship.) Forced to live among the crowded, barely tolerable conditions that the rest of the fleet endured, Apollo and others get a tastes of the depravation the rest of fleet suffered while they enjoyed comfort aboard the flag ship. The central conflict of course was between the less fortunate refuges and the Galacticians with a resolution that centered on the need for common sacrifice.

Looking back on that early story idea and on some of my most recent work I can see the common themes of sacrifice, and the need to set ego aside. It’s interesting what stays the same even after so many decades.

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Rejection is Baked In

Yesterday I got the word that I had not scored one of the few spots at the Viable Paradise writing workshop. Certainly that disappointed me but I also moved on fairly quickly. If you are striving in this writing gig an aspect that is baked into it from the very start to the very end is rejection. It says so right on the tin.

Everyone understands that when writers are starting out that there are loads of rejections. Many writers save every slip they get, often finding creative ways to deal with the pain, such as turning them into wallpaper. In general I don’t save mine. However once you establish yourself that’s over right?

Nope.

Editors may bounce books proposals, anthologies might invite you but still find the story not quite what they had in mind, second runs will get turned down, critics will reject your art, awards will overlook your brilliance in the same manner those editors did at the start of a career. Rejection is a writer’s constant companion; it is neither a mark of shame nor an indication of a lack of quality. Except for expressed comments and critiques all a rejection tells you is that the piece in questions did not work for that editor on that day.

Acceptance always tells you very little except that the story worked for the editor. As they say with financial prospectuses past performance is not indication of future performance. A string of rejections does not mean the next one to that same editor will also be rejected. I had a long strong of ‘did not place’ rejections from Writers of the Future and then skipping over Semi-Finalist and silver Honorable mentions, I scored a finalist.

Conversely a string of sales doesn’t mean the next submission to the same market will sell. Each and every piece lives and dies on its own.

When you get that rejection if there are comments, listen to them, then submit the piece a new editor, and move on to the next project.

Always writing, always submitting, that is the writer credo.

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The Volatile Man is Gone

Yesterday the world received the news that author Harlan Ellison died. Depending on who you are and particularly your age you are likely to have wildly divergent feelings about the man’s passing.

He lived a provocative life rarely keeping his tongue or in some cases his hands to himself. I think he was a tremendously talent artist but a flawed individual and a perfect example and warning to people to never confuse the art with the artist.  His writing is powerful stuff and he composed with a ‘take no prisoners’ gusto to what he saw as truth. From The Outer Limits, Star Trek, to Babylon 5 and I have No Mouth and I Must Scream; he left an indelible mark on speculative fiction.

I met him on one occasion but we were not acquaintances. It was at a room party for a Chicago bid to host the WorldCon. One fan, holding a hotdog from the party’s offerings, commented that these were good hotdogs. Harlan reached over, and with his fingers plucked the sausage from the bun, commented that the hotdogs were crap, and then replaced it back into the man’s bun.

Undiluted opinions served without consideration for your feelings, wrap it up in a towering talent and I think you’ll get fairly close to who Harlan seemed to be.

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