Oh my! It’s hard to argue with that cartoon! Look how evil and scary unions are.
Are you an American who believes unions are organized extortion, protecting the lazy and demanding luxuries like Bon-Bons for workers?
Please take 30 minutes of your day to listen to the 1st half of this Small World podcast for the interview with Cory Doctorow. They mainly discuss his new YA novel, but they also talk about unions and workers organizing. I think it’s well worth the listen!

Then, after you listen, give this and this a read for some of the evils of organized labor.

I was able to take a 2-hour lunch which allowed me to spend a little time browsing at Barnes and Noble, pick up a paperback, and eat leisurely while reading. That’s it. That right there is a sure-fire way for me to have a great day!

I think part of it comes from back in high school, YEARS ago *pout*, when I worked at the local small town Pizza Hut. I’d get off work late at night, but the local grocery store (this was before Walmart took over) would still be open. In I’d walk and with a bit from my wad of tips money I’d buy a new paperback. There was no Web, no cell phones — I’d have to browse the backs and pick some scifi or fantasy novel that promised excitement and adventure.

Then home to my basement bedroom where I’d read ’til I fell asleep. And, nearly always, I would keep on reading the next day during all my classes, book snuggly wedged against my lap and my desk. I seriously doubt I actually fooled any of my teachers; I guess they didn’t really care. (There’s probably a reason the only AP class I had was English.)

These were halcyon days where I went through probably 3 to 5 books a week, I discovered Steven Brust and his Vlad Taltos series, and had no obligations except to speech-and-debate and to immerse myself in my passion for SF. These were good years! (Aside from, of course, the mind-crushingly angst-ridden sexual frustration, which is also probably a result of my obsession with speech/debate and reading SF.)

So today, taking this very rare time to enjoy a mid-day book-buying break and reading just for pleasure, has washed away, even if for a shirt time, all my current troubles and worries. I’ve decided I absolutely must request a 2-hour lunch once a week.

Life is too short and wonderful to find yourself mired in spirit-crushing worries and drudgeries of life! Find those little things that make you truly happy and embrace them. Celebrate them. Enjoy living!

As a new year’s resolution, I’m hoping to do more quick, literary themed writing, i.e.: book reviews and the like. I’ve been reading a lot of books lately (e.g.: the entire Vlad Taltos series, again) and would like to review them. (Actually, I’m in the early process of writing a scholarly paper on Steven Brust’s Dragaeran books and their use of Marxist theory.)

Anyway, here’s my first review of the year, and it’s a bit of a cheat…I didn’t finish it. I couldn’t finish it. It’s S. M. Stirling’s Dies the Fire: A Novel of the Change. It’s the first in a trilogy, which is itself the first of two trilogies (so far). The conceit is really fascinating: for some unknown reason all modern (circa last 1000 years) technology stops working: electronics, gunpowder, internal combustion. The book follows two separate groups as they deal with what’s happened, find and join with other people, and try to find a place to set up and survive. One group led by a competent ex-Marine and pilot, the other by a stereotypical red-haired Celtic music playing Wiccan and her merry band of Wiccans.

The setting is compelling and intriguing and has so much potential! But it’s utterly squandered by Stirling. This is the first book, I think, that I’ve ever intentionally put down half-way through (as opposed to just kinda forgetting about and losing interest in). To review why requires spoilers:

The ex-Marine half was up to the point I stopped reading not too bad, except for the fact that the 14-year-old of the family he was leading was a Tolkien fanatic and knew more about bows, compound and recurve, than probably your better-than-average expert bowyer or book on expert bow making. I’ve known a lot of Tolkien fanatics, and more than a few Society for Creative Anachronism (SCA) archers, and I can assure you that none of them know more than the fact that a bow is made of at least wood. She knew facts about any and all kinds and forms of bows that stretched and destroyed credibility.

Oh, and then they run into another bow expert. Surprise!

And the Wiccan group? Good thing that they run into a bow expert SAS officer. Lucky, that.

The Wiccan group itself was simply the most annoying, unbelievable, group of in-your-face cartoon characters I’ve ever had the displeasure of experiencing. Not a single page went by without a “Blessed be” this, a “Goddess” that, and a sign of the pentacle here and there. I’ve known fundamental Christians who could go several days without talking about God, but not these group of Wiccans. Don’t get me wrong, I have nothing against Wicca, and in fact, I love the idea of Wicca in some way being involved in a group of post-Change survivalists! But Stirling turns the dial right past 11 into “If I read one more ‘Lord and Lady’ I’m freakin opening a vein!”-land.

But one of the greatest and egregious errors of misrepresentation and squandering of a great opportunity is how he depicts the rise of the villain and the fall of the police post-Change. First, I hold no love for police, but I can assure you that should technology fail, they will not just roll over and get taken over by a history professor and some medieval-armed thugs. Have you seen YouTube videos of the police using riot control tactics? Ballistic helmets, shields, body armor, batons and shock batons, and incredible hand-to-hand training. The police, probably national guard, with the fall of political organization, would become de facto rulers of the land that no professor/historical tactician with a tiny army of tin-can wearing, sword swingers could deal with. Especially in the way Stirling develops it!

In a week, yes, just one week after the change, this historian has somehow armored a tiny army, I guess trained them in the use of armor and swords, and rid the Oregon city of all the police and has taken over. One week. I don’t know, but I think it would take a couple days at least before even a bright person with absolutely no communication beyond city limits would figure out that the whole world has shut down and isn’t coming back. And then a couple of days to find the necessary armor and weapons to arm an army (if that’s even possible in the first place without spending weeks making new), and then at least a couple of weeks training them to the point where they could even be a threat to anyone aside from themselves.

Somehow, all this was done in a week, and the police and Guard were taken down.

I absolutely agree with other Amazon reviews that this book is basically a Wiccan SCA member, D&D playing nerd’s wet dream. And I myself am a proud D&D playing nerd, and found this book to be more annoying than could be bared.

A recent musing of mine on anarchy and democracy: link

An excellent (and scary-sad) collection from Classically Liberal of examples of police state abuse and misconduct.

* Like most things in postmodern culture, this topic is well filled with contradictions. Guy Fawkes, for example, was not truly an anarchist (as far as I can tell). He, along with his cohorts, were simply p.o.ed that Catholics were being descriminated by the Protestant British government and decided to get rid of it, hoping to establish a Catholic-friendly one. (*sigh* what, religious violence again!?)

Guy Fawkes ironically became a symbol of later anrchistic movements despite his basically being just a religious terrorist.

Guy Fawkes was also appropriated by the British cultural hegemony as a symbol of celebrating the God-protected and ordained rule of proper British royalty. (Much like how Hitler propagandized his surviving the Valkyrie assassination attempt as a sign that God protected his divinely ordained Third Reich. [I may have just Godwined myself, but it just goes to show that anyone and everyone can and does invoke God's favor when things go well for them.])

And now there’s this Anonymous group appropriating Guy Fawkes to protest Scientology. Interestingly, as this is a quasi-religious fight, this may actually be a more “appropriate” use of Guy’s image… if not for the fact that what they’re really doing is using the image created by the film “V for Vendetta”. They’ve taken an image crafted for entertainment consumption, based on a hyperreality of an appropriated image, of a man whose purpose has been fictionalized by one group and celebrated for it’s failure by another group for ideological justification…

Ow. Jean Baudrillard is probably laughing in his grave over this a-historical postmodern pastiche! (I think I see a scholarly paper in this!)

The story, “The End of the Beginning,” is in the latest edition of M-BRANE SF magazine, issue number 10. You have a few quick, easy, and inexpensive methods of getting it:

Visit this URL: http://mbranesf2.blogspot.com and on the right-hand side you’ll find the options:

• Buy it in print through Lulu for $7.95 (direct link)
• Buy a single PDF copy for $2.00
• For the Amazon Kindle for $2.99 (direct link)
• For the MobiPocket version for $1.99 (direct link)
• Subscribe to a year of M-BRANE SF for $12! (A real steal!)
• (You can also just donate to the writer’s fund; I’m sure they’d really appreciate it!)

(NOTE! As of this writing, the Amazon and the MobiPocket versions aren’t yet available. If you want it for Kindle or Mobi-compatible reader, please check those sites in a couple days or so.)

“The End of the Beginning” was a fun story to write. It started with my musing about the eventual heat-death of the universe and just flowed from there in just an hour. (Plus, of course, some significant time editing to make it at least slightly readable.) As for the rest of the stories in issue #10, can’t say. I haven’t read it yet as the second it came available ti started writing this post. But the stories found in issue #1 (which you can get for free) and #9 are varied and interesting!

Anyway, if I may beg, please support struggling authors and the publishers that give them a voice and buy yourself a copy!

Don’t forget, you can also get my first published story, “A Price in Every Box” (huh, I’m sensing a theme in my titles) in Moon City Review 2009. It’s available for $15.95 or through Amazon for $12.44. That story is kind of a contemporary fantasy, or maybe slipstream if you will. The book itself is a very eclectic collection of all different genres, including poetry and photography. So if you don’t like all SF, give Moon City Review a try!

(And keep your eye open, sometime next year the book Confederate Girlhoods: A Women’s History of Early Springfield, Missouri will become available. I helped edit it and contributed a little original text for it.)

UPDATE: Oops! Can you tell I’m new at this self promotion thing? Here are the beginnings of the stories to interest you:

From “The End of the Beginning” published in M-BRANE SF issue #10:

Ash was too late to see the end of the universe; it was already dead when he woke up.
.
At first he had no idea what had happened. He’d expected to be floating in the secured testing area in high Martian orbit, or at least find himself surrounded (cosmically speaking) by the familiar planets and moons of his solar system. Instead, he seemed to be nowhere. Outside the viewports was complete blackness. The sensors picked up nothing nearby, then nothing at a distance, then nothing as far as they could scan. Not a single photon nor x-ray nor infrared wave nor alpha particle. Nothing.
.

He thought he must have still been asleep. The situation seemed too surreal, too hard to wrap his mind around, like trying to read a sign in a dream: no matter how hard one tries the words may change and shift or become meaningless. Ash tried to understand what the readings told him, but they made no sense. He would look out a port, see a part of the outside of his capsule in the dim illumination of one of his own exterior lights, but beyond that the dark was an oppressive, suffocating thing. His eyes kept trying to view through and past the impenetrable obscurity, into infinity, at something. The dark was absolute, unyielding and his eyes grew weary of working at focusing on the featureless black.
.
He considered the possibility that he was trapped in an alternate dimension. The entire process of time travel required the manipulation of at least two of the other seven dimensions humans could not directly perceive….

And this is from “A Price in Every Box” published in Moon City Review 2009:

A suitcase was an embarrassing container for the evil of the world, but it was all Pandora had in her apartment to store him in. The wheels on the suitcase broke off when she got it nearly to the first landing of her apartment building. While they weren’t a great help, the plastic rollers had for a while helped her round the top of each step.
.

She pulled and strained halfway to the second landing when Craig from 3C ascended into view and offered a hand. Craig was annoying, crude, and every afternoon when they passed in the foyer he would give his latest unasked for assessment of what was helping the country descend to hell in a hand basket. Fearing what she would have to gift him in increased attention in return for his assistance, she reluctantly dismissed his offer to help her–but he would have none of it. With a smile and a grunt Craig grabbed hold the bottom of the suitcase and helped lift the container to Pandora’s fourth floor landing. He gave her a wave and a “Have a good day,” and flitted back down the staircase whistling a cheery tune. Craig: still annoying, though now differently annoying.
.

Craig was just the latest in a disturbing trend she noticed. An hour after evil’s capture and already things all around her started to seem different. She realized she hadn’t heard a car horn in quite some time, the constant buzz of people yelling at each other from open windows had transformed to the bleat of compliments and well-wishing, and the only time she heard a siren it was followed by the laughter of children the cop had been entertaining.
.
She had been searching for evil, for him, how long now? So long she couldn’t recall. In fact, there were several decades in there she had even forgotten her search altogether….

To be fair: I’ve not read this book, only the review of it, so I’m kind of talking about something twice removed. But that’s ok–I’m actually going to be talking around the subject and about the review itself anyway.

So, evidently this book deconstructs the legend and the myth of Lincoln and really gets into the reality of his politics, policies, and socio-political beliefs based on his actions during his presidency and his time in Illinois politics. It turns out that an overarching belief of Lincoln was a strong federal government in control of social organization, individual state affairs and commerce, and the structure of mercantilism (which, by the way, was the socio-economic base preceding true and modern capitalism). And the Civil War was less to do with slavery than about federal (and imperial) control of the resources and wealth of the South.

Years and years ago, even a little into my teens, long before I had any ideas of libertarianism or especially Marxist criticism, I thought there was something wrong with the whole Civil War story we’re taught through both school and culture (the former really being a tool of the later, anyway). War itself is wrong, but that’s beside the point: What’s really going on that half a nation would want to split from the rest, and the side that controlled the organized military should act just like the empire we fought not a hundred years earlier to be free of in using armed force to prevent it? The idea that it was all about freeing the slaves didn’t ring true to me and seemed implausible, and for some vague and esoteric idea of simply keeping One Nation together is an even worse idea. (You don’t wage bloody war against your brother for some phantom notion of nationalism–at least, no rational person does. And if they do, how horrifically immoral and vile of an act is that!?)

No, even back when I still thought Marxism was the equivelent of Satanism, I understood it must have to do with economics, wealth, resources. (Later, as a Marxist, I’d learn that all wars are fundamentally about economics and resources.)

Ironically, this review of the book (and presumedly the book itself) while critiquing Lincoln’s political and war motivations as being economically motivated, (which is what materialist Marxism is all about doing), the review (and, again, evidentally the book) spends some time railing against some early 20th century American Maxist-Leninists who were working hard as historical revisionists to white-wash Lincoln and put a positive spin on his fascio-socialist politics. Now, these guys the review/book mention may very well have been Marxists, I don’t know. I’ll grant them this. And if true, the review/book is factually correct on this count and that’s fine. But the strong implication of both is that this is evidence that goes to the arguement that all Marxists approve of fascism and imperialim and seek to promote the kind of centralized goverment control of all resources and wealth that Lincoln appeared to want. And this mischaracterization simply points up yet again how very little libertarians, conservatives, capitalist bulldogs understand about Marxism.

For example, while it may be true that these particular Marxists the book likely cherry-picked were of the pro-fascism ilk, most of the Marxist critics, democratic-socialists, anarcho-socialists I’m aware of from the same time period would have been appalled at the kind of federalized control of commerce and wealth Lincoln was moving toward, and most especially the idea of waging war to secure that wealth and resources for federalized control. It was Marx and Engles who, before and during the very years of the American Civil War, were in Germany writing about how capitalism was the corrupt foundation upon which unjust, unnecessary, violent, wars just like the Civil War are based upon. They decried the very basis of wealth and resource and labor-exploiting economy that fueled Lincoln’s alleged desire to federalize and command.

Socialist activists like Max Eastman, John Reed, Emma Goldman, fought and were imprisoned for their views on wealth-inspired wars and their anti-war activism… In the 20s. Early anarchists like Bakunin (sp?) fought for anti-federalism (anti-governments in general) and were also socialists and believers in Marxist criticism. Marxist critics like Max Weber and Erich (sp?) Fromm (who identified as a libertarian socialist) were staunchly anti-war and anti-centralized power based on accumulation of wealth and resources! Modern libertarianism owes it’s existance to the early Marxists and scads of anarcho-socialists and libertarian socialists!

But nearly every current (American) self-proclaimed libertarian I know, knows nothing of their movement’s history, knows nothing about the various forms of socialism, erronously groups all socialists as Stalinists, and has no understanding whatsoever of Marxism. And sadly, they tend to have no interest at all in even acknowledging any differences. The differences, for one example, between a Soviet communist and an anarcho-socialist are as stark as night and day. But, when I try to even point this up, I’m usually met with a wall of righteous dismissal and the evident desire to remain ignorant as additional information would simply complicate their black-and-white ideological blanket hatred.

Hmm, OK, this will do nothing to improve the graces of my libertarian friends. Chances are, this may be the end of friendships.

Back to the Lincoln review/book: their anti-Marxist diatribes aside, their critique of Lincoln seems to make complete sense given the evidence. We live in a nation where the federalist North won, and the winners get to write history (and craft the general cultural message of why they won and what it was all about in the first place).

Now, don’t misunderstand me, and no offense meant (…OK, maybe a little offense, sorry…) I’m not only not a Southerner but I really don’t in general like the South. Besides their past hanging on to abhorrant slavery (which, again, had little to actually do with the war and the North was for a long time also a supporter of and a longer time a beneficiary of), I hate their current general racism, scientific ignorance, mysoginistic bigotry, religious zealotry, and food. (*sigh* OK, a lot of offense. Sorry.) In general, stereotyped broad strokes.

But even before I knew the word libertarianism, or the concept of anarcho-socialism, I believed in the message of the Declaration of Independence that stressed that any people have the right to rid itself of government it finds intrusive, abusive, overly controlling, domineering, and counter to the peoples’ desires for life, liberty, and the pursuit of happiness. And the 10th Amendment that states that all rights not expressly dictated by the Constitution fall to the states and to the people. I believe that includes the right to secede from the union should the constitutional, federal government grossly overstep its rights and bounds and violate the limits of the Constitution and the spirit of the Declaration of Independence. (Did I get you libertarians back?)

They Might Be Giants - Science Is Real

A few days ago, Rebecca over at Skepchicks posted a post featuring some videos of songs from They Might Be Giant’s new album: Here Comes Science. It’s a kid’s album (that can be thoroughly enjoyed by adults!) extolling the many and varied benefits of science.

The first YouTube video she posted is for the album’s opening song: “Science is Real”. My initial feeling is of delight as I’ve always loved They Might Be Giants, and their wonderful nerdiness. I love that they want to pass their own love for science on to kids. While all the songs on the album appear to be fun tunes about some aspect of science, upon giving the opening song, “Science is Real,” a second thought, I find it extremely sad that they have to actually put a song on the album that has to purport the reality of science. That we live in a culture that has to constantly be explained to that science is reality. It’s very depressing.

Reminds of how I found out, just today, that there’s a compelling and critically better-than-average film being released this month that dramatizes a bit of Charles Darwin’s life, his marriage, his family, at the time of his writing On the Origin of Species. It has big name actors, and is a major film, not an indie flick (nothing wrong with indie flicks! But there’s a point here…), but no one in the U.S. wants to distribute it to theaters here. Because of the “controversial nature” of Darwin and evolution. (::face palm::)

Here’s a movie that’s all set to be released and enjoyed around the world, but here in this “modern” country where we just barely beat Turkey and have a ways to go before we reach Latvia for the number of people to accept the reality of evolution, we can’t see it because the subject is Charles Darwin. It’s not even a documentary, it’s not made to be “challenging” or controversial, it’s not written or filmed to be a polemic…it’s just a drama about a famous man and his personal life during the time he did something to make him famous. But Ooohh NOooo! It has to do with an aspect of science which has stood the test of time and testing for 150+ years, but the conservative evangelicals in our country have such a loud, strident, and pernicious voice (which has made us a laughing-stock for the rest of the world that’s not controlled by an Islamic regime) that film distributors are leery of releasing an otherwise completely non-controversial film here.

Embarrassing.

*sigh* Time to go back and watch some of those light-hearted, fun, toe-tapping songs by They Might Be Giants and get myself back in a good mood.

Now, don’t get me wrong, it’s a very well-made game. It’s beautiful to look at and they made some improvements over Rock Band 2, including vocal pitch selector and melody or harmony choices! Although, I’m not sure I’m liking the softer, washed-out colors of the scrolling grids and buttons. It muddles the field and makes it harder to see what’s coming, and keep an eye on your bandmate.

The disappointing aspect is the music itself. Now, I’ve been a HUGE Beatles fan since Jr. High. Given the choice of listening to the Beatles, the Rolling Stones, or Elvis–the Beatles without hesitation. But, let’s face it, their music is not exactly complex and challenging. In fact, their first half of their career up to and including most of Rubber Soul, they’re the Ramones of pop music: all you ever need is just 3 chords.

They started experimenting and branching out with Sgt. Pepper, and had a lot of diversity in the White Album (my general favorite), but the music is still relatively simple with a few exceptions. (Like, Abbey Road’s “I Want You/(She’s So Heavy)”. The last third of that song is heart gripping and amazing, although very repetitive.)

Now, I should note I’m coming at this from the point of view of the guitar. Lyrically the songs can be challenging, and I don’t know about the drums. But let’s face it, Ringo was no Neal Pert. I play Rock Band and the Guitar Heroes exclusively on medium, and that’s been getting a little boring–but that 5th fret on hard is a real challenge for me. Still, medium in Rock Band 2 does still provide me with some entertainment. But medium in the Beatles is like the easy setting. If it weren’t for the fact I enjoy the music and find the animation interesting, I’m not sure I’d bother playing (and truth be told, I kinda hate pre-Rubber Soul Beatles). I feel I’m being forced to play on hard if I want challenge… which is not a bad thing since it IS a game. We’ll see how much hard setting adds challenge, whether it eliminates the fun in place with controller-throwing frustration. (I’m looking at YOU Castlevania for SNES!)

We, my wife and I with daughter guest appearing for a bit, played only on Quick Play, we haven’t played Story Mode yet, which I’m really looking forward to in hopes of unlocking some exciting songs. I’m hoping “Norwegian Wood” and “A Day in the Life” are in there. But, I’m leery. I understand you can’t move to the next chapter of the game until you play EVERY song in the current chapter. No options for skipping any you just don’t like. Also, one of the fun things about Rock Band is being able to create characters and outfit them–none of that with the Beatles.

So far the game doesn’t look worth $55+. I’d say maybe $35, $40 tops. But I tell you what: if they ever come out with a Rock Band: Pink Floyd, I’m buying two copies–one to play, and one to take into the warm embrace of my arms and do things with that most religions outside southern California would hate.

Anyway, he writes SF so brilliantly because he understands the notion that for the future, or alternate-tech, to be believable, it needs to be acceptable, normal to those who live in it. Here’s a very brief but wonderfully rich article where he discusses the nascent science (and thus SF) concepts that are gee-whiz-bang! now, and how they will look when they’re part of the culture:

• Words for Webstock – Bruce Sterling

I, unlike pretty much every other English grad student I know/have known, am not an English teacher. Not for high school, nor did I teach undergrads while earning my English MA. Chances are pretty certain, though, that when I go for my PhD or MFA I will have to endure the joys of teaching highschoolers or their very slightly more mature undergrad versions.

It’s not that I dislike the idea of teaching, I love the idea. But two, no, three things scare and frustrate the yellow paint off my pencils: One is that I’m afeared of the younger-than-25 crowd. And that ties directly into my second reason: I’m afeared about my own lack of classroom control ability. If you know me, you know that in person I’m more than a little bumbling, somewhat awkward, I stutter and mumble and have a very difficult time finding the words I want to say and especially stringing them together in coherent and understandable sentences. I’d (am gonna) get run right over the top of and lose all appearance of someone worth listening to, much less someone to give respect to. And they smell fear!

Thirdly, also tied into the previous two, is politics and mandated curriculum frustrates me. The politics of the public school system and college system would probably make me cringe and fill me with rebellious discord. I don’t like the idea of having to teach a class in the classical teacher-is-god/students-are-submissive-statues dynamic. Don’t get me wrong, I’m not a Montessori fan where the student basically does whatever they want and learning is expected to find the student. But… you know, I’m getting away from my original intent for this post.

I have a great deal of respect for good teachers. I have nothing but ire and derision for bad teachers. Both are because teachers have a great deal of influence over students and can significantly impact their lives, for the better or worse. I had one teacher in jr. high who inspired me and made me want to learn and grow and I’ll never forget her. I had a teacher in high school who embarrassed and shamed me in front of others and I will hold a place of irrational hatred for him for all my years. Because of the great power teachers have over students during their formative years, I absolutely believe bad teachers should be gotten rid of with speed and prejudice, and good teachers should be made into wealthy celebrities. All the crap they have to put up with from bad students, parents, politicians, it’s amazing we have any good teachers in the system.

Now for the main event:

Author Pat Conroy recently wrote an editorial in response to some attempts at book banning at a high school. What he had to say about the value of teaching, English teachers in particular, and books, I simply can’t improve upon and agree with every word.

So, I urge you to click the following link and read this short essay. See if you can recall your English teachers and what life lessons you may have learned from them.

http://www.randomhouse.com/rhpg/rc/library/display.pperl?isbn=9780553381535&view=qa

They took an extended hiatus earlier this year, but it looks like things are back in order and they already have two new episodes out.

AISFP has had some great interviews and discusses the publishing industry (particularly, obviously, as it relates to the amorphous SF genre). Their first episode back has an interesting interview with first time published author and already Nebula Award nominee, Greg Van Eekhout, author of Norse Code.

Head over to “Adventures in SciFi Publishing” by going to this link: AISFP – 78

Enjoy!

Let’s say it’s a post-apocalypse situation where whatever happened caused crops to stop growing and all herbivores (i.e.: the animals we farm and eat) to die off, like in the years leading up to Cormac McCarthy’s THE ROAD. Good ole red blooded middle-class Americans are dying from starvation by the millions. Given the mercenary survival instinct of corporations, and the natural survival instinct of humans in general, and our likely desire to not lose as much of our Way Of Life as possible…

Would we knowingly and willingly allow corporate run cannibalism to keep ourselves and our society as we know it running, if it allowed The West from turning into a THE ROAD or MAD MAX style desolation?

What do you think?

(It’s been 20 years since I’ve seen SOYLET GREEN and I’ve not read the book, but the main difference here is in that book/movie the populace didn’t know what the govt/corporations were doing. I’m interested in opinions regarding a willing populace.)

Last meta topic: Facebook readers: this post came from my official blog; the auto-transfer to FB tends to strip any embedded images.)

I finally got to see Watchmen at a 2nd run theater this weekend. (Just to get that out of the way: the sound was meh. Mediocre quality and an audio channel or two would cut out now and then. If possible, always see highly visual/auditory movies in a good theater. But, $2 to see a film in a theater isn’t a bad thing either!) And my general reaction: A-frakkin-mazing! I was totally blown away! I even had chills watching the incredible opening credits.

Chances are most people reading this will have already seen Watchmen or have decided not to. Instead of an in-depth review of the movie itself, I want to express some of my personal background and reaction to it. Hey, it’s a personal blog, after all–not a news ‘zine.

I was aware of the Watchmen comics when they first came out in the 80s, but I never read them. The covers were compelling, and even though I didn’t have comic book fan friends, I was still aware of some kind of buzz surrounding these comics. But, I never got into comics at all, really, despite my really wanting to. Once, as a kid, I had gotten a copy of Ghost Rider, and it has some action which was cool…but what it mostly has was a confusing plot that depended upon previous issues of the comic in order to understand what was going on. And that very early experience with comic books prevented me from ever really picking them up as I realized some of these comics had been going on for years! How could I possibly get involved in X-Men or Teen Titans much less any of the Super- or Bat- characters if I’d be lost without the years of backstory?

It doesn’t help that I didn’t have any comic book-loving friends (even though we were definitely geeks–we played D&D pretty much every weekend and rode our bikes to see every scifi and fantasy movie we were allowed to go to), nor any comic book shops nearby. Well, not that I knew of. I mostly grew up in suburbs of Denver, yet the only hobby store I knew of was a train and model store I’d get my model rocket parts from. I always got my D&D stuff from Waldenbooks. So…I was never given any advice in how to get into comic books in the middles. In high school I used to walk to my mom’s work after school, stopping by 7-Eleven, and I started getting The ‘Nam and Groo from the beginning, but I always saw them as pale substitutions for real comic books. (Mmm, that was also the beginning of my love for chili picante Corn Nuts!)

Ironically, I didn’t get into Watchmen for that reason despite the fact it was a finite story that was published over a year or two. Once I was older and realized it was a limited story, the excitement of Watchmen had turned into legend and reverence and the comics were re-issued and collections were published. I could have gotten into it then. But something else turned me off: the artwork. In my opinion, it was and still is pretty horrendous. It reminded me of Sunday comic pages. I understood by that time that Watchmen was unlike anything that had come out before. There was something about it that elevated the comic book to literature status: it was mature, it was deep, it deconstructed the super hero, it was revolutionary. But still, every time I was reminded of it and I told myself “I’m not worthy of geek status until I read Watchmen, I would look at the old style inking and terrible coloring, and couldn’t bring myself to actually read it.

And now I’m glad! Because I think the movie freakin’ blew me away exactly because of this specific condition I find myself in. For more than 25 years I knew of the cult status of Watchmen so when the trailers for the movie started coming out, I could join in the excitement of it. (And even if I knew nothing of the history and legend of Watchmen, the trailers were freakin hawsome! I got chills the first time and the 20th time I’d watch the trailers.) But since I had no early impressioned love of the content of the comic books, I could enjoy what the movie did without expectations or criticism for not sticking to the script, adding something, or leaving something out. I could enjoy the movie for what it was.

But then, I’m pretty forgiving when it comes to movie adaptations. I’m very aware of how impossible it is to translate a book to film and not have to change things in order to make a coherent and enjoyable movie. For example, I love the original Dune novel, every time I read it I get something completely new from it–it is so amazingly rich and deep. But I liked David Lynch’s movie just fine, enjoyable on its own terms, as it’s impossible to film that book. Likewise Peter Jackson’s Lord of the Rings was probably the best that could possibly be done and capture the themes of the novel(s) and still make a movie that would make sense, and be enjoyable. I thank goodness there was no Tom Bombadil in the film!

Since seeing Watchmen, I’ve tried to find scans of the original comic book online so I could see what the differences in dialogue may be, and honestly, from what I’ve seen, I think the movie did a better job. Some of the dialogue in the movie was a little stilted or odd sounding. Not much, though. But while most of it was word-for-word from the comic book, the movie would eliminate some dialogue that was in the original that was even worse. Almost ridiculous. From my limited experience, I think the film-makers did an amazing job keeping the best of the original. And I like the little details. For example, I noticed in the film when Rorschach was in the prison interview room, his had both hands on the table, as if he may have been required to do so, or he was ready to strike out if need be. I later saw, in that image from the original above, that you can just see his hands flat on the table.

Watchmen was an absolutely amazing film, whether you’re into super heroes or not. It was pretty violent and gross in places, but not too bad. (All the violence in this movie doesn’t even come close to the horrific two instances of violence in the French drama, Irréversible, but that really is for another blog post.) I really need to see it a couple more times before it leaves the theater. Am I getting the DVD? Hellsyeah!

Science fiction is about reflecting the present not the future, so, all science fiction writers predect the present and that means they write in the style and the form of the day. And you know I think the “Singularity” right now reflects a sort of social anxiety about technical people who are slipping. You know, it’s kind of like an après moi le déluge. You know, “once Vernor Vinge can’t keep up with technological progress, technical progress will no longer be keep-upable with.” And I think there’s something to that, I think there’s this feeling that when you transition from being a bright young turk to grumpy old fart that what’s changed is the world and not you, and that the world has changed in a way that is truly wrong. My friend Jim Griffon says that “If it’s been invented before you were eighteen then you assume it’s always been there, if it’s invented before you’re thirty you assume it’s the best thing ever made, if it’s invented after you’re thirty you assume that it should be illegal.”

(He also has some great discussion on why social networking software is so addictive and how absurd end user license agreements (EULAs) are by forcing us to assume a contract by our behavior–for example, those rediculous stickers on software CD envelopes (or the notices sometimes inside the envelope) that state “by opening this envelope you agree to….”)

Anyway, I find this comment about the nostalgia for the past and the fear of the future intriguing since I’ve been spending a lot of time the last year researching the “death of science fiction” (or rather, its absorption into all genre) and having spent many brain cycles on this concept of the Singularity. It’s an idea put forward by author and scientist Vinge that posthuman technology is advancing in such a way that when humans today would be incapable to perceiving or understanding the “human” of the future, humanity will have passed through the Singularity and modern human history will be at an end. This event could be when artificial intelligence has overtaken homo-sapien and we have been relegated to a “lesser” species, or when homo-sapiens have fundamentally changed via genetic manipulation and cyber enhancement.

It’s an idea that’s gaining a lot of ground both in sf and in technoculture–but one has to wonder, does putting such a connotatively fatal demarcation seperating the two not imply fear of the advancement?

Anyway, a couple of years ago he released a concept album (previewed online for free and setting the stage for the appropriately modern and technology aware marketing of the later Ghosts albums) entitled Year Zero which looks at a world several years in the future should the current neo-con trends in politics continue. Politically charged without being so pedestrian as to refer to any actual people or events and thus forever dating itself, the message of the album is clear if subtle, and the music is varied and strong.

But one of the best things about the album was its marketing. Its release was preceded by alternate reality game type elements including Web sites which extend the story of the album, “lost” USB keys with music found in various venues, etc. I love ARGs and what they’re capable of (although fascinating, the Year Zero ARG wasn’t very huge or intricate like Halo 2′s “I Love Bees” and A.I.‘s “Beast” games).

Anyway, all that said, a limited length series based on the story of Year Zero may be in the works!

• Trent Reznor Is HBO’s Great Scifi Hope?

Glee!

• Great Opening Sentences From Science Fiction

As a student of creative writing and hopeful one-day teacher of it, I’m acutely aware of how important a good first line or two is for capturing the attention of the reader, and especially the editor who’s sifting through the slush pile of submitted manuscripts for publishing.

I think my favorite opening line I’ve written so far is:

“Ash was too late to see the end of the universe; it was already dead when he woke up.”

In the comment thread for this article, commentor Timeshredder remarks:

The edition I’m reviewing is a reprint–and when I say “reprint,” that’s exactly what it is. The version of the book I received, as the new reprint, has the cover seen here and a publishing date of 1996 under Prime Books. The original mass market paperback I have was from Avon Books and released 1995 (although Barnes and Noble is showing it published in a different year and publisher than I’m looking at right now in the book itself). Amazon shows another cover for Ruby Slippers, Golden Tears also published by Prime, but listed as 2008. There are a couple more covers and ISBNs available through Amazon and B&N. Regardless of this very confusing collection of Ruby Slippers, Golden Tears iterations, one thing I can deduce from my looking and primarily from comparing the two editions in my hands, is that while there may be a multitude of covers the insides are exactly the same. Exactly! From the table of contents and the introduction straight through to the intros for each story and the very page numbering, the contents of the books are identical.

Now, I find this to be a huge disappointment. Partly because it makes the book and the editors seem a bit daft to the reader coming to the book anew. For example, the introduction to Susan Wade’s story mentions “Her first novel, Walking Rain…was recently published by Bantam” (8). Ten years ago.

The other most significant reason for my disappointment comes from the un-updated volume introduction. One of the best parts of this modern fairy tale series are the, well, scholarly essays about fairy tales and their modern versions and descendants–why the tales came into being, their history, their impact, common themes. (Well, at least until their fifth collection, Silver Birch, Blood Moon. By then the introduction becomes a short collection of trivia and recommended reading. While still very interesting, the regular reader may have become spoiled by the breadth and depth of the previous introductions.) The new release of the books have nothing new from the editors on the subject, the genre, past nor present. Not even from an additional introduction author who could have been commissioned to write a supplemental introduction providing new insight or criticism on the subject should Datlow and Windling have been too busy to update their material (which I’m sure they are. After having apparently exhausted their thoughts on the matter pretty obviously by the last installment of the series, perhaps it should also be obvious they’d have nothing new to add to reprinted versions of the series). But, it has been ten years since the series was introduced–there could certainly be new thoughts on the subject by other scholars and essayists since then as surely as there have been new authors and stories.

Which brings me to my third though admittedly least significant disappointment: no new stories. As reprints, one doesn’t expect there to be new fiction content, nor did I really. (Although new or additional introductions or prefaces aren’t that unusual for reprints. But, I think I’ve beat that horse enough. Except to say one more time that new story intros would have been highly advised at the very least.) Though, after really looking at it, the last in this series, Black Heart, Ivory Bones, did come out in only 2000. That’s not terribly long ago. Plus, Datlow and Windling have put out other related anthologies such as A Wolf at the Door and Other Retold Fairy Tales (2000), The Green Man: Tales from the Mythic Forest (2004) and The Coyote Road (2007). While these may be for a younger audience than the Snow White, Blood Red series, it perhaps proves that Ellen Datlow and Terri Windling have not abandoned the subject and new authors but have perhaps redirected their efforts in different directions. If one wants new fairy tales with a modern and possibly an adult twist, you’ll just have to turn to their Year’s Best Fantasy and Horror anthologies or Ellen Datlow’s Inferno.

Now, all that being said, let’s get back to the content of the primary book in question: Ruby Slippers, Golden Tears. As with the other books in the series, this one has a mix of stories that range from mediocre to heart-wrenchingly good. Certainly the likability of a story is quite subjective to the person, and the situation! For example, I recall when I first read the opening story of this anthology, Wade’s “Ruby Slippers,” I adored the sardonic and ironic twist put on the Wizard of Oz tale. But now, after reading and viewing a decade of “twists on a familiar tale,” “Ruby Slippers” seems trite and tired. Like something I would have read from undergrad creative writing class.

But this kind of story is rare; most of the stories in this collection, while certainly retellings and often twists on a theme, go far deeper and evoke greater emotion in both range and intensity. And in general, with better writing. But occasionally it’s taken too far, such as Anne Bishop’s “Match Girl.” This story manipulates the pathos in such a way as to become grotesque, in content and manipulativeness. I recall when I first read this story, when I was about 24, the horrific events that the title character encounters made me appropriately angry toward her persecutors and tormentors and rooting for her vengeance or at least her release from torment. I didn’t get the feminist ideology driving the narrative at the time, I simply enjoyed the story. Now, older and hopefully wiser, I reread this story seeing it as a thin allegory for the trials and tribulations the female sex has to endure in a negative, demeaning, abusive patriarchal society. While on the one hand I applaud and support this agenda, I have to say I enjoyed the story much less because of how thin the veil is. I was no longer reading a story, I was reading a blatant polemic. And with this new awareness, what I read as a bitter-sweet ending ten years ago, I see now as a frustratingly antagonistic and arrogant attack against the author’s own gender in general.

As the editors discuss in their wonderful introduction to the book, much of folk, fable, and fairy tale have been “rather subversive,” until the patriarchy of the Victorian Age and Disney reshaped them (3). This is an aspect of the fairy tales of the past, and the modern versions of the present, that I greatly enjoy–no one loves subversiveness more than I. (Go Marxism!) But I dislike when the rage and anger at the hegemonic ideology is mixed with blatantly ephemeral allegory that ends up, in my opinion, doing a disservice to both the narrative and the message.

Fortunately this is also rare. Most of the stories in this anthology find a balance in theme and narrative so that the story can be enjoyed for its own sake, but the subversive message is there if you care to look. A wonderful example of this balance is found in Ellen Steiber’s “The Fox Wife.” Like many of these stories, if you’re not shedding a tear by the end of it, you’re a heartless bastard. This story, while the message of subverting gender roles and tradition and expectations of marriage is evident, the wonderful storytelling enraptures the reader in the all the best ways. It’s a story that leaves you thinking about it for days.

There’s no reason to read editions in the Snow White, Blood Red series in order, even the introductions are nicely self-contained. If you want to pick up Ruby Slippers, Golden Tears and start from there, it’s a good of place as any. Honestly, if you already have an earlier copy, there is no reason to buy the new re-release–there’s nothing new in it for you. But if you’re new to these modern fairy tales for the grown up, this is a must-read!

(Only one more year until I graduate with my MA in English (Creative Writing track). Assuming I pass my German literacy requirements, my comprehensive exams, and complete my thesis. To those ends…)

(…on German…)
So this summer I need to basically re-learn German. Not that I’m really complaining, I love the German language! But I’m so far behind…. Back in my BAs, 10 years ago,  I earned enough GRM credits to get my undergrad degree, but I’m technically 2 courses short for my MA. I can either take the literacy test (which is what I’ve been thinking) or take two more classes (which wouldn’t work with my day job since they don’t offer GRM classes at night). I’m still somewhat good on German grammar, conjugation, syntax, but quizzing myself on German vocabulary…unless the test is composed of all pronouns, numbers, colors, and ways to say “I don’t know” and “I don’t understand,” I’m screwed.

I need to get some really good teach-yourself-resources this summer (any suggestions?!) and then see if I can take an advanced OTC class in the Fall (so if I bomb it won’t affect my 4.0 MSU gpa *prideful grin*), and then get that test out of the way before focusing on comps….

(…on Comprehensive Exams…)
Gah! I am SO dreading these! I have to come up with ten “questions” to write about regarding various topics in all of English literature, linguistics, theory, and cultural studies, submit them for review, get back four, write papers on them, and then on exam day find out which two I’ll be “answering” and then rewrite the papers from memory. I understand the necessity–I am supposed to be a “master” of my subject when I graduate with an MA. But it doesn’t mean I’m not going to have an ulcer that’s a Master of Pain in the process.

(…on Thesis/Novel…)
And for the good news: I just finished the first half of ENG699 this semester–my thesis work course. And incidentally, have finished the first half of my novel’s first draft. As my MA is Creative Writing focused, my thesis is a “creative thesis.” I looked over past English creative thesis in the university library…and I’m sort of disappointed. Almost all of the past creative thesis are collections of poems (no, that’s cool, that’s not what I’m disappointed about), but if it’s prose it’s almost all memoir (c’mon, really? Seventy pages of personal journal writing is a masters thesis?) or a couple of short stories. I like MSU, I do. But this is what they’re accepting as master’s work in creative writing? If you’re going to do short story collection (nothing wrong with that) it should be a personal anthology! At least eight and of varied genre. I saw maybe one complete novel in the collection and two partial novels (about seventy or eighty pages).

Well, if I can’t be in the University of Iowa’s Writing Program, then I’m at least going to set my own bar higher. I’m writing a complete novel, finished and polished, with an analysis anchored in critical theory, and a supplemental journal on the process of creation (I do hope to teach creative writing after all). So, last week my first draft reached 42,900 words (or about 120 pages). When I set out and created the novel’s general outline and background, I estimated it was going to be about 95,000 words long (about 275 mass market pages), and last week I felt I reached the mid-way point in the novel; it looks like I’m estimating my goal pretty well. Now this summer (and next fall) I need to finish the draft and start working on editing before ENG699 recommences Spring 09. That’s when I should be doing final edits and completing my critical analysis.

I’m considering posting my draft thus far for only friends to be able to access, and ask for feedback….

UPDATE: Azamien has brought it to my attention that I’m mistaken regarding Trent Reznor appreciating what Radiohead did. (You’ll understand in a moment.) It may have helped form what Trent would later do, (and possibly do it better), but Trent has stated that he thought Radiohead’s thing was a “bait-and-switch.”
♦ Trent Reznor: Radiohead’s ‘In Rainbows’ promotion was ‘insincere’
(Hat tip to Azamien)

Trent Reznor (aka, Nine Inch Nails) has just released the new, full studio release of the latest NIN album (and follow-up to the last studio album, Year Zero), The Slip, for free off the Web!

♦ NIN album, The Slip

It’s available in MP3 as well as ultra-high quality FLAC and Wav formats. He’ll be selling physical copies next month. This move, through the Creative Commons license, is hot on the heels of his release of the 2-disc Ghosts for free for digital copies, and modest prices for various physical forms.

Trent was so impressed by what Radiohead (my 3rd favorite band) did last year by offering their latest album for free (or whatever price you wanted to contribute for it), that when his contract ended and he became a free artists, he decided to do something similar. What probably helped is when his last contractual album, Year Zero, came out, it was leaked on the Internet. Either on his own, or to jerk around his corporate overlords, in response he streamed the album for free on his Web site. Despite both the leak and the free stream, the sales were still quite good! Proof that with the proper respect toward your fans, free offerings can still make you money.

It also helps that now that he’s no longer beholden to a record company, he gets more than less-than $1 per CD sold. So, under a record company, if he sold 100 CD’s in the store, he’d get about $9 as the artist. On his own, he could give away 50 of that 100 and sell the other 50, and after cost still make $250. It just makes sense!
But then you have the question over whether you have to be famous and have a huge, dedicated fan base, like Nine Inch Nails and Radiohead, for this to even be possible. Maybe.

In comes author Cory Doctorow. Contributor for blog BoingBoing, former advisor to the Electronic Frontier Foundation, and rabid digital rights advocate. This last week his new book came out:

♦ Little Brother
A young adult novel about some innocent teens who are brought in by Homeland Security as terrorist suspects, and are so victimized by the (very real world) domestic terrorism by the government that they seek to thwart the government’s program of abuse-of-liberty-via-false-security through their use of technology. (Also very real-world, and the book provides a how-to in each chapter for some of the methods used in the novel. Instructables Web site is also promoting some counter-surveillance/fake security methods in conjunction with the book.)

Cory started releasing each of his books for free under Creative Commons from the very beginning. He’s now somewhat famous and very well respected as a scifi author. He attributes his success to the fact that he’s offered his work up for free, believing that anyone who downloads a copy and doesn’t buy the book wasn’t going to anyway. It’s not a lost sale. And there are probably a lot of people who downloaded a copy and then bought the book who may never have bought it if not for the free version–gained sales.

One difference in these issues, the music and the books, is the record companies are rabid fighters against all possible threats to their profits, real or imagined. Book publishers are a million times more willing to back the artist. For example, Radiohead’s and Trent’s record labels would never have allowed what Cory’s doing, and in fact, I understand Trent’s went positively insane over his “stunt” of streaming Year Zero. Tor, Cory’s book publisher, which is a corporation and does like to make money, have been completely supportive of Cory’s providing his books for free. And likewise Cory defends them, asking people to buy the book whenever possible and letting people know Tor isn’t a bad guy in all this and has been very forward-thinking and treats him well as an author. As a matter of fact, Tor has since started releasing relatively new popular sellers for free to subscribers of their newsletter. The book company seems to know a little something about customer loyalty, artist loyalty, and marketing and potential sales that the music industry appears to be blind to.

Other publishers have picked up writers such as Scott Sigler, after they put their first books out for free on the Internet, and subsequently have become popular sellers. Sigler’s latest book was made available for free for days before going on sale, only to become one of Amazon’s top book sales. Seems as though the book companies are learning it’s a new world, and to survive, you have to adapt–not try to block the inevitable change from happening.