Tuesday, February 28, 2012

Serialized Pulp Novel: The Rogue and the Merchants (Part 25)




Here is serial 25 of my pulp novel, The Rogue and the Merchants. As usual, here is a link to the full transcription, thus far, if you want to know more about the project, the source of the manuscript, or the story of the novel's genesis. Also, all of the illustrations I've been composing are there as well: Pulp Novel Project: The Rogue and the Merchants

***


No one spoke for a span after the attack until Tauos commanded that Brol's wound be tended to. Then they began a somber search for their comrades, who they assumed were dead. Eerily, the fog seemed to lift directly after the monsters flew away, and all they found to indicate the fate of their comrades was a steaming pile of entrails. They did not sleep that night and were too frightened to go in search for the Rogue. Some assumed he had died, killed by the monsters. And yet, in spite of their fears, they organized a steady watch and prepared to leave in the morning. Indeed, they praised their god when the light of morning crept in.

By the time they finished telling their story to the Rogue, it was sunset.

Brol sighed as he sat forward: "And what of your scouting venture, slave? Tell me, please, that the settlement in the canyon is rife with fresh-baked bread, soft beds, hot baths, and that the folk who live therein speak the language of my fathers," he said. He shivered. His eyes were darkening. He was perspiring profusely. The Rogue wondered whether it was wise not to have held off on the telling of their long story and to have taken Brol, straightaway, to the settlement for his wounds to be tended.

Brol indeed looked pale. The attack had taken a toll on him. When the Rogue placed his hand on his master's brow, he was not not surprised to feel it burning hot with fever. "I am fine," chattered Brol, pushing aside the Rogue's hand.

The Rogue sighed, for her he knew his report of the canyon settlement would come short of Brol's desire, that all he could say of the settlement was that the folk who lived there were strangers but seemed to be good hosts. He forced himself to tell the whole truth and not to play into the merchant's hopes. He summarized his scouting thus: he wasn't completely sure if the people of the village were to be trusted. He had certain reservations. They were reluctant to discuss their god. Furthermore, he asserted that the merchant's they may seem "primitive," who, being from a city that was at the height of its decadent era, were used to comparatively luxurious amenities. Some of the merchants were offended by this assumption on the Rogue's part. "We're city dwelling folk," Tauos said, "but we've no right to expect a tavern and copper bathtubs this far out in the wild. I'm sure, if these folks will have us, whatever they offer will be appreciated. As to their trustworthiness: I cannot say."

In deliberate unornamented truth the Rogue spoke about their lack of a common language, about their alien culture, and about the strangeness of their customs. Not all of what he had to say was horrible to report, however; he told of the beautiful women, of their healing arts--crude though they were. He also told of the foreboding beauty of the ruins in whose shadow they had built their village. Of these ruins, he clearly articulated suspicions: "There are many folk who have been and who will be. There were many empires that rose and fell before your city of Tabun Stoh was built. For all I know, these folks have once lived in those ruins. For all I know, these folk are the descendants of those who had once dwelt there. That, I cannot say."

The Weirding of the Writing Process: The Protagonist as a Portal (Post 2)

On Friday I started writing about the "narrative function" of the protagonist. And, after some etymological analysis, I "distilled" the characteristics of the protagonist down to three attributes:

1) They are the main character.
2) They end up in conflict.
3) The audience identifies with them.

Afterwards, I brought these attributes to question.

1) Does the idea of a "main" character necessarily entail a certain narrative structure (can you tell a story where there isn't a main character?).
2) Do all protagonist have to move toward conflict? Can there be a protagonist who resists conflict?
3) Can you have a protagonist that repulses the audience or that cannot be identified with?

I explore these questions in more detail in my previous post. Here is a link if you're interested: Post 1

But in this post I'd like to offer an alternative definition of a protagonist, a different way of thinking about protagonists.

So, protagonist's have been traditionally defined this way: the main character who approaches the conflict of the narrative who the audience identifies with and who opposes the antagonist, the villain.

Hmm...let's modify this for specifically weird narratives (i.e. science fiction, fantasy, supernatural horror).

It seems to me, speaking strictly in terms of weird fiction, this definition structurally isolates the way the reader accesses your imaginary world. Let me explain.

In fantasy, you often have a secondary world; in science fiction, you often have a world of the future; in supernatural horror, you often have a world where supernatural terrors do indeed exist. In other worlds, you have in this narrative types a distinct "alternative aesthetic space" where the rules are different.

The problem that weird writer needs to solve is, how, precisely, do I get my reader into this world?

The protagonist seems to be the key narrative tool for doing this.

Let me offer an example. Let's consider an example everyone knows, J.R.R. Tolkien's The Lord of the Rings. In The Lord of the Rings the protagonists, if you will--traditionally defined as, say, Frodo, is that access point into middle earth. He is a kind of modern character who lives in a cozy, civilized society who then branches out and explores the dangerous fantasy world.

I don't have much time to explore this idea fully here. In Post 3 I'll explore the following idea: the protagonist as a portal.

Is it useful to think of protagonists as portals to other worlds? We shall see.

Saturday, February 25, 2012

Serialized Pulp Novel: The Rogue and the Merchants (Part 24)



Here is serial 24 of my pulp novel, The Rogue and the Merchants. As usual, here is a link to the full transcription, thus far, if you want to know more about the project, the source of the manuscript, or the story of the novel's genesis. Also, all of the illustrations I've been composing are there as well: Pulp Novel Project: The Rogue and the Merchants

***


The entire entourage lost their discipline then and scattered like deer in every direction, yelping, gargling out in fear. Some waved their blades wildly at the attackers, striking but thin air and shadow. Many of them were wounded straightaway--cruel scratches on face, neck, and flailing arms.

Brol, though his knees trembled with fear, carried the attack forward after the initial horror. He was accosted by two of the red implings and swung his knife madly and skillessly. The monsters, though they were lauging in the beginning, grew craven when they found one of the merchants had a fight in him. They spoke to each other in a fast, chittering language indiscernible by the merchants. They left their other prey alone to concentrate on Brol, who appeared to be a kind of threat. One of the implings--he seemed the largest of them, although he was small in comparison to Brol--seemed to take great offense at the merchant leader, and attacked with a viciousness unmatched by the others. He clawed Brol's face, gnawed his arm with a foaming mouth; and, using his long, black, forked tongue, he sucked one of Brol's eyeball's right out of the socket with a wet, suctioning "plop".

"I killed it then! I did this in spite of the pain and horror," Brol coughed. "By my god Evyat! I was determined to bring one of the beasts down to death, to the Vansts, with me!"

He then explained how he killed it. He brained it with the pommel of his dagger, ripped and shredded its leathery wing with his teeth, twisted its arms until the bones cracked and it stopped moving.

The other merchants testified that Brol had become an animal. It had crumbled, dead, to the ground.

The other monsters, chittering with rage, flew away screeching and cursing unknown curses in a language they did not understand. Though they were fierce, they were obviously cowards, for their fear had been bestirrred by just one death.

Friday, February 24, 2012

Flash Fiction: The Digital Devil and Daniel Shebat


I've been participating in an online writing community called, Flash Fiction Friday. They're really great! Lots of good writers. They give a prompt and we have a week to write a flash in response to it. This week the prompt, Cycle 69, was to write a story about "a deal with the devil." I decided to write a "cyberpunk" version of the "deal with the devil" story. Why? Well my wife recently wrote a cyberpunk flash titled "Black Glass" for a flash fiction magazine we started called Flashes of Wonder! and I was really impressed and inspired by it. Also, I love cyberpunk, but have never really written in it. This was an opportunity to do it casually. Additionally, William Gibson's Neuromancer is perhaps my favorite science fiction novel. I imagine this flash is kind of an homage to it. Anyhow, here it is!

***
The Digital Devil and Daniel Shebat (857 words)

Shebat penetrated the server, poured himself another espresso, lit a cigarette, and mashed play on his antique cassette player. A muffled, Please allow me! To introduce! Myself! thudded out of the antique stereo speakers.

He exhaled smoke when the data stream filled his field of vision.

Nestled within the sausage-like coils of his brain, nano-processors purred. Computer and mind were one. Ram, video card, neurons, brainslime; moot distinctions. He smiled revealing metal teeth.

The Redstar Server Hub was quiet tonight. With the speed of thought he glided through the data. Deposits. Memorandums. Schematics. Data. To him, it was all the same. It was cash.

He subvocalized and executed his subroutine, watched as it interfaced: a million particles of data sparkling on the black expanse of the global net field. His decrypting virus appeared on the surface of his visualization as a cloud of branchy veins.

Too much GUI made his eyes burn. He blinked it off. His field of vision was normal again.

He sipped on his espresso, felt the subtle pleasure of the caffeine quickening his pulse. He inhaled a steroid from an inhaler. Crunched down two pink pills, for concentration. Popped in a piece of spearmint.

He yawned. He stretched. He rubbed his chin. He needed a shave.

He blinked on his visualization, shrunk it down with a thought. He then looked beyond it, focused on his ancient television screen, where Space Invaders flickered. He took up his joystick, satisfied that the decryption was working just fine.

I was 'round when Jesus Christ!
Had his moments of doubt and pain!
Made damn sure that Pilate!
Washed his hands and sealed his fate!

For a brief moment, against his will, a thought came. Was it the song? An association?

He'd been warned about penetrating Redstar. Rumour was that Redstar was dabbling in A.I., what cyber cowboys called devils. In spite of the global legal machine that forbade it.

Redstar's corporate offices were air conditioned satellite stations with elevators where corp suits drank coffee and flirted with interns and cheated on their wives. He'd seen the reality shows. He couldn't imagine them making consciousnesses, summoning digital demons from the depths of the human imagination. The last A.I. humanity wrote killed millions.

Rumours. That was all. Suits weren't that stupid.

Pleased to meet you!
Hope you guess my name, oh yeah!
But what's puzzling you!
Is the nature of my game!

Shabat cursed when the invaders won. He threw down his joystick, unshrank his GUI with an eyeflick, and was satisfied when he saw the decryption working just fine.

He went into the kitchen, microwaved himself some ramen, intensified it with a few grams of adrenaline from a dropper, and, using chopsticks, dragged it into his mouth.

When he came back into the living room, he saw it standing there.

A shimmering figure. Vaguely humanoid. A kind of digital shadow burned on his retina.

"Hello," the figure said, its synthetic voice stirring Shebat's superstitious dread.

His reeling mind started justifying things: feedback problem. Comp-virus in my brain. Faulty implants.

Shabat blinked. Looked at his GUI. Decryption was doing fine.

He thought up a diagnostic and he had a report in seconds: everything was fine.

And yet. What was that thing?

Ignoring the apparition, he subvocalized, brought up his firewall, and executed four or five programs to disconnect from the server. He felt his pulse quicken when it seemed to hold on to him.

"It won't work," the figure said. "I'm not a program you can exit that easy."

"Fuck you!" Shabat said. "I'll log off. I'll turn off."

"Don't shutdown too quickly. You'll kill yourself, cowboy. Your cognitive processes are inextricably linked with so many subroutines. We both know you'd die. You’ve overclocked your brain."

Shabat spit. He threw aside a stack of porn magazines. He pulled out his pistol, held it to his head.

"Very adult," the apparition said.

"I'll do it," Shabat said.

The apparition made a noise. It could've been laughter. They stared at eachother for a second. Eventually, Shebat took the gun away.

"Thought so," the apparaition said.

Shabat was stunned. He blinked off his GUI. Looked at his apartment. His vision was normal. The apparition was still there.

"F-u-u-u-ck!" he said. He threw aside his gun. "Get out of my head." There was desperation in his voice.

He poured himself another cup of espresso, sank into his couch. He buried his face in his hands.

I guess he was wrong. Seems like the Redstar suits had been that stupid.

Pleased to meet you!
Hope you guess my name, oh yeah!
What's puzzling you!
Is the nature of my game, oh yeah!

The apparition was next to him when he looked up. Shimmering.

"Mind if I sit?" the apparition said. It smelled like ozone. Shebat looked at the gun. He could still do it.

"Don't care," he responded.

The apparition sat. The air around it seemed charged with electricity. A frequency rang in Shebat's ear.

"Now," said the apparition, leaning in close. "Tell me, Daniel Shebat. What do you desire above all other things?"

Shebat lit another cigarette. Inhaled. He gazed at the gun.

The Weirding of the Writing Process: Examining the Narrative Function of the Protagonist (Post 1)

Looking back through my February posts I realize I've written very little on the writing of science fiction, fantasy, and supernatural horror. In large part, this is because the time I have to devote to creative has really went down. Why? I'm been working on my dissertation prospectus and so, I haven't had time for creative writing (I don't count the transcription of my pulp novel, The Rogue and the Merchants, as creative writing. I'm just mechanically transcribing it at this point. No editing. No revision.). Sure, I've been getting some flash fiction writing in. But the two flashes I wrote this month have been in "realistic" genres. I wrote a literary fiction titled, "Lift," and a hardboiled detective fiction, "I Met Her Seven Times."

Well, this morning I sent out the most recent draft of my dissertation prospectus. And so, I imagine I'm going to have more time to write creatively over the next couple of days as I wait for my adviser's input. 

***

This post I want to ask a question about protagonists. More specifically, I want to meditate on the relationship between readers and the protagonist of a narrative. What kind of a relationship should a reader have with a protagonist? Let's back up: what is a protagonist?

I can feel it. This is going to be a "two parter." This post will set up the problem. Tomorrow I'll try to respond to it.

Anyhow, once again, what is a protagonist? Lord Wikipedia defines "protagonist" this way:

A protagonist (from the Greek πρωταγωνιστής protagonistes, "one who plays the first part, chief actor") is the main character (the central or primary personal figure) of a literary, theatrical, cinematic, or musical narrative, whom ends up in conflict because of the antagonist and with whom the audience is intended to most identify.

So, according to this definition, that protagonist manifests a few characteristics:

1) They are the main character.
2) They end up in conflict.
3) The audience identifies with them.

Hmm..

I find this intriguing. Let me say a little about each characteristic.

1) They are the main character. This implies that there is a "hierarchy of importance" in a cast of characters depicted by a narrative. In other words, this definition implies that there are characters in a narrative who are more important than other characters. Is this always the case? It's a hunch of mine that is has been the case for many narratives since the emergence of "novelistic" narratives or "realistic" narratives. But there are certain types of narratives that do not incorporate a "hierarchy of importance" among their cast of characters. I'm thinking of an epic like The Iliad

Yes, Achilles and Agamemnon are important characters in this narrative. And yet, are they the main characters? Are they more important than, say, Hector? Priam? Odysseus? etc. etc.. I'm not suggesting there is no "hierarchy of importance" in terms of the cast of characters that are depicted by the narrative of The Illiad. I do want to suggest, however, something about an intensity of this "hierarchy of importance." 

Let me put this hunch simply: in an epic like The Iliad, there are many, many characters, and they are all important. In more recent, novelistic narratives, there is a demand for a "main" character. Modern readers prefer to know who is important and who is not important. This might be changing.

2) They end up in conflict. This implies that the protagonist has to struggle with something, usually an antagonist. They have a desire or a problem that comes upon them. Can you have a protagonist who doesn't experience a crisis? Who just sits and enjoys themselves? Tea? Reading? Maybe. I don't think this would make a very interesting story. But, I can imagine a narrative where the protagonist experiences no conflict. Perhaps this would originate a conflict in itself. Perhaps for the narrative to begin the protagonist needs to seek out conflict. 

This reminds me of a stem in protagonist. Agon. Agon is Greek for "a comepetition" or "a contest." It's connected to our English work agony, which means, "extreme and generally prolonged pain; intense physical or mental suffering" (dictionary.com). Pro + agon means "towards the contest." With the meaning of our English word taken into consideration, we can understand "protagonist" to mean, that person who goes forward, faces, and courts, physical and mental suffering. Hmm...

3) The audience identifies with them. Identifies. What does this mean? One definition of to identify (the one I think this particular usage is referring to) is, "to consider (oneself) as similar to another" (dictionary.com). Hmm... So, the audience of a specific narrative should consider themselves similar to the protagonist? I'm not sure about this. I've read a lot of thrilling narratives where the "main character" or "protagonist," if you will, have been repellent to me. I'm thinking of something like Vladimir Nabokov's Lolita. In terms of fantasy, Michael Moorcock's Elric of Melniboné is a borderline villain. I rarely identify with him. I'm definitely nothing like him. And yet, he's still a great protagonist.

There's much more to be said about protagonists. This post is a first step. And yet, this focused analysis of the concept of a protagonist has raised some interesting questions for me. 

Should my readers identify with my characters? 
Should all of my stories have a main character? 
What is the relationship between main characters and conflict? 

In part 2 of this analysis of protagonists, which I aim to write on tomorrow, I will explore this more fully.

Thursday, February 23, 2012

"One goes out like a snuffed candle": The Horror of Marjorie Bowen and Other Worlds

I don't usually do two posts in one day. These days I've just been too busy working on my dissertation prospectus. But I find I have a little extra time this afternoon. I'm hanging out at a Caribou Coffee in Mayfield, Ohio, and I want to tell you about an interesting horror writer I just discovered.
Marjorie Bowen (1885-1952)

Her name is Marjorie Bowen (1885-1952). I don't know much about her other than that she wrote historical romances and horror stories. I picked up a collection of her short stories titled, The Bishop of Hell and Other Stories, and I read, "The Bishop of Hell." What a great story!

Some summary: it takes place in London in the late 18th century. It is ostensibly the remembrance of a fellow about a former friend by the name of Hector Geatrix. Hector Geatrix is a horrible guy. Of him the narrator states, "his reckless, his impiety, his boldness terrified even those hardened in wicked ways" (97). But what makes him even worse? He had been ordained a Bishop in the Church. The main crux of the narrative is Geatrix's love affair with a woman who he takes to the continent. I won't give it away, but it ends with a turn to the supernatural, an intriguing image that stirred me deeply.

Let me relate one great quote. Geatrix is meditating on engaging in a duel and the possibility of dying. This is what he says: "There's nothing, not even Hell, Jack--one goes out like a snuffed candle--just blackness, blackness, nothingness, nothingness" (106). I love the repition of the "blackness, blackness, nothingness, nothingness." Such a powerful and yet interesting statement taken in the context of the story's end (which, of course, I'm dying to tell you about. I won't, of course).

Let me try to articulate why I loved this story. First, it's pace. It moves so leisurely and yet relates so many events. In 15 pages you learn the life story of this villain. You learn where he has been, where he goes, and how he ends up. Secondly, in these 15 pages, a complete world is opened up for you. For me, Bowen was able to completely recreate London in the late eighteenth century through passing references to clothing, powdered wigs, jewelry, etc.. This is difficult to do.

Without a doubt, however, the greatest element of this story is how it suggests "other worlds." It folds into the texture of the narrative the idea that there is more to reality than this life. This effect is evoked more through tone than any direct statement. The portrait the narrator paints of Geatrix is disturbing, and it disturbs on a metaphysical level. How? I just don't know.

Anyhow, if you haven't heard of Marjorie Bown, if you haven't read her, then--I recommend this story to you. Wonder, wonderful.

Utopic versus Realistic Space Opera: Battlestar Galactica (2004) and Star Trek: The Next Generation

My wife and I recently watched all four seasons of Battlestar Galactica (2004) for the first time. What an amazing show! I loved the way it seemed to take traditional space opera tropes and somehow make them more "human" and "gritty." There's a realism to that show that makes one think while watching it, "Yes. If there were spaceships, if there were spacefleets, this is what life within them would be like."

I found it strange how often I thought of Star Trek: the Next Generation while watching this show. I often made comparisons. Having had some distance from the show, I now realize why I was making these comparisons.

If ST:TNG is utopic--a kind of futuristic paradise--then Battlestar Galactica is realistic. I wouldn't go so far as to say it's dystopic, a horrible world. Sure, humanity has been destroyed and is hurtling through space in the search of a new home; and yet, dystopic texts, I think, don't hold out the prospect for hope BSG does. In BSG, the possibility that the humans will find earth is always there.

Comparing ST:TNG to BGS reveals some very interesting things, I think, about two "flavors" of science space opera, what I want to call "utopic space opera" and "realistic space opera."

For example, let's compare a few characters. In ST:TNG you have Captain Jean Luc Picard and in BSG you have Commander William Adama. Both of these figures share some characteristics: Adama is a scholar (consider his book-filled study), and Picard is a scholar (Picard is always quoting the Western Canon). They both demand respect from their crews. They both make inspirational speeches. And yet, there are some major differences: Adama is willing to execute folks if they get out of line. Picard doesn't believe in corporal punishment. Adama is an alcoholic and curses a lot. Picard drinks earl gray and is very proper. Adama deals with the civil government: the president of the colonies. Picard doesn't deal with the civil government at all. He gets all his orders from the military, the Starfleet.

Now let's consider another pairing of characters: the second in commands, Colonel Saul Tigh and Captain William Thomas Riker. How are they similar? Well, Tigh executes the commands and polices of his superior officer, and so does Riker. Riker appears, in many episodes, as a kind of disciplinary figure; Tigh is completely in charge of disciplining the crew. Other than their rank and military funiction, I can't think of any additional characteristics they share except they both appear to like to play cards. Now let's think about their differences. I can think of a major one: the majority of the grew of the Battlestar Galactica hate or at least fear Saul Tigh. He's a bastard, and for good reason: he courts this sort of image for specific purposes. The majority of the crew on the Enterprise, however, love Ricart. His leadership style is to "get close" to those below him.

Now I want to consider the two ships that dominate these two shows: the Battlestar Galactica and the U.S.S. Enterprise. They are both similar in that they're both the flagships of their fleets: the Colonial Fleet and Starfleet. But, they couldn't be more different. The Enterprise is the cutting edge of technology, the best Starfleet has to offer. The Battlestar Galactica is outmoded technology, an old-fashioned throwback, a kind of museum that is literally falling apart. The Enterprise is filled with potted planets, carpeted, and appears--at least to me--to be air-conditioned. Gods, they have orchestra and theater performances inside of it! The Battlestar Galactica is like a submarine. It's spartan: all metal, and screws, and cold, and cramped. Airlocks everywhere and, as the show progresses, more and more dirty. Often you wonder, as you're watching, "I bet it stinks in there."

Another minor comparison: think of the two bars on the ships. Well, Battlestar Galactica starts off with no bar at all until they realize that they are going to be on the ship for so long, they need some sort of place for recreational unwinding. And so they build Joe's bar. The Enterprise has Ten Forward, which is a posh, "wear-your-best" bar.

Another comparison: food and water and real world concerns like toothpaste and fuel come into consideration in BSG. In ST:TNG, none of this is considered. It's "post-scarce." Everyone has everything and anything they need.

There's a lot more here and I have to stop typing. This post is getting long. I think I'm getting at the key differences between these two shows, which point to something more major: two visions of the science fictional future or space opera. We have with BGS an imagined future that's not all polish and beauty. We have something more visceral and real. But there is indeed something comforting and inspiring by the vision of ST:TNG.

I'm not sure which vision I prefer. I think they're both interesting and enduring pieces of art. But we have with these shows demonstrated two flavors of space opera that are crystallizing.

Wednesday, February 22, 2012

Serialized Pulp Novel: The Rogue and the Merchants (Part 23)



Here is serial 23 of my pulp novel, The Rogue and the Merchants. As usual, here is a link to the full transcription, thus far, if you want to know more about the project, the source of the manuscript, or the story of the novel's genesis. Also, all of the illustrations I've been composing are there as well: Pulp Novel Project: The Rogue and the Merchants


***

He wasn't believed by his comrades, for Paj--very unfortunately--was known among them as being overly superstitious, a religious zealot, and a "jumper-at-shadows". In spite of his vehement ravings, Brol, Tauos, and Rew--who were in spirit the leaders of the caravan--disregarded him. They demanded that he sleep off whatever lunacy the night fog had inspired in him.

They were concerned, however, when Paj pointed out that the one of them, the youngest--his name was Munish--was missing. Brol, Tauos, and Rew, after a quick search of the camp, could not deny this. The young ones were indeed missing. And so they called everyone together, threw stones, and, in this way, enlisted the help of two of the younger merchants, Theis and Farard. They would go out and search for Munish, but they weren't to go out very far. If they could not found the boy, then they were to return to the camp and to call for help if they needed it. They gave them short-blades of Tabunian make and had them march into the darkness looking for their lost comrade.

"It was directly after this that we knew something was wrong, that Paj had been speaking something of the truth about a horror out there in the darkness--though we thought it more likely an animal at this point," said Tauos. He tugged nervously on his long, thin, tightly braided beard.

After Theis and Farard left, bearing trembling blades, it was not long before they heard them gargle screams and their moans began emanating from the fog. Screams and moans became gurgles and then hacking and then became screams again--a perpetual, staccato of hoarse howls. This horrible orchestra of death sounds seeped into the entire camp, and so all of the merchants--the ten who remained--issued from their tents to stand, eyes wide with horror, gazing into the fog, muttering questions to themselves and wringing their hands as the screams went on. None could tell what had happened but all were frightened.

Brol was the only one who shook off his fear and began to organize them. He commanded them to arm themselves, although the two blades they had given to Theis and Farard were their only swords. They had daggers and skinning knives and two bows and some arrows, but no swords. He ordered others to secure the horses, who were, by this point, neighing as loudly as Theis and Farard were screaming in the fog. And they were kicking and stamping and going crazy and threatening to break their reins. After a few moments, when the horses were settled, the moans of pain and screams ceased. Silence lay about the camp.

Brol whispered orders to the merchants. He had them bear torches and to circle themselves around the central fire of their camp, where there was the most light. Something deep within him stirred and he knew an attack was inevitable. And he was right.

Swooping out of the fog were dozens of those read beasts, tongues waggling, monstrous grins on their toothy faces, their many-knuckled fingers dancing with delight. They raked over the merchants with long claws dripping tar, and they cackled evilly: a shrill, razorish laughter.

Tuesday, February 21, 2012

The Illustrations of J.R.R. Tolkien: Authoritative Visualizations of Secondary Worlds

I recently disovered the social network, Pinterest. It's really interesting. It allows you to pin images you find around the internet onto virtual "pinboards." And these pinboards are available to your friends and those who follow you on pinterest. Also, you can link to your pins.

I recently created a pinboard focused on the illustrations of J.R.R. Tolkien. Here's the link to it: The Illustrations of J.R.R. Tolkien

I find these illustrations extremely intriguing. This has a lot to do with my feelings about "secondary world fantasy." In "secondary world fantasy" a writer creates an alternative world within which to tell stories. This world is completely seperate from our world and, to a large extent, has no influence on our world save any allegorical lessons it might teach us. The interesting possibility, I think, that creating a "secondary world" holds out for any of us is the possibility of "playing god," or being a creator. Sure, all art offers this possibility. But with secondary world fantasy you, like a kind of god, are creating a world.

But what does this have to do with illustrations? Well, when you imagine something it's always great to visualize it. There's something visceral and immediate about a drawing of a mountain over a description of a mountain. But, often, secondary world fantasists have to give over the "visualization" of their worlds to other artists who are technically skilled. And so, any visual representation of that world is less the author's vision--the vision of the "god" of that secondary world--and more an interpretation of that author's vision.

For some reason, an interpretation of the author's vision ring's less true in my mind. Sure, there are great stories of collaborations between artists and fantasy writers. I can imaging fantasy writers stating to their artist, "Wow! That painting! It's great! It's just like I imagined it!" And yet, I can't believe that any interpreation of the thing can be coequivalent of the thing. Also, there is the risk that a certain visualization of a fantasy comes to contaminate the original author's vision. I am thinking of J.K. Rowling and how she said eventually, as she wrote, she imagined the faces of the actors who were depicting her characters in film.

What does this have to do with J.R.R. Tolkien's illustrations? Well, it's pretty obvious. With these illustrations you have the originary source of "Middle Earth" letting us know, in a more precise way, what "Middle Earth" looks like. I find this so intriguing! It makes me wonder if all "secondary world fantasists" should spend time learning how to draw, paint, design, etc.

Monday, February 20, 2012

Female Imagery in Sci-Fi/Fantasy/Horror (Post 4): Tony Moore's Cover for #19 Walking Dead -- Michonne


As a newcomer to comics and graphic novels, my experience reading The Walking Dead beginning a couple years was wonderful. I loved the immersive characteristics and qualities of the medium. The characters, of course, seem more real because of the interplay between the text and images. But there's something so charged about Tony Moore's cover for issue #19 of the series.

Michonne's entrance in the storyline speaks to her fiery, unstable, strong, beautiful character. She's deeply flawed, as are all the characters in the series. That is where some of the eerie realism of the graphic novels peaks out behind the zombie apocalyptic front.

No one could go through such extraordinary life-shattering events and be the same. This, or course, is what creator Robert Kirkman wanted to do: to write a zombie tale that focused primarily on the survivors. This is why there are several issues where the characters do not even encounter zombies. The real threat, more often, are the other survivors, the other people.

Desperate times do things to people that they wouldn't expect; they change. And this is where the image of Michonne speaks to everything she has endured and will continue to endure.

One of the first things that catch my attention in this image are the colors. Her bright green and blue socks, her fluorescent pink skirt, green jacket, blue vest, and yellow scarf stand in stark juxtaposition to the grey and brown of the surroundings and the pale, dead flesh of the walkers she has chained behind her.

Her colorful outfit speaks to the life she had before all this happened. She was once a different kind of person, one who was perhaps happy, even spirited. Her demeanor, however, creates an additional juxtaposition to the outfit.

She stares ahead, her lips tightly pursed. She has a cold intent, one that she needs in order to survive. (Of course, in the series, we get glimpses into her previous life, particularly what she had to do immediately after the outbreak. It makes sense, then, her intense look.) Her look is closer in tone to the surroundings: unforgiving, unpleasant, a sign that bad things will come.

Outstanding in this image, too, are the way she grips both the chains that lead the zombies (without giving too much away, we learn that they were once important people in her life) and the katana. She is, again, like a force of nature, like the storm that whips the wind around her and brings the dark clouds behind her.

As an image of the female in the realm of the fantastical (and yes, I'm including the zombie apocalypse in the fantastical), Michonne presents a type of reality that transcends simple gender roles. Her strength and frailty, her wrestling with the past and how it will impact the present and future, are characteristics that anyone, under extreme circumstances, could call forth.

But what makes Michonne's character so engrossing is that so few in this world do, or at least do so in the ways she does.

Sunday, February 19, 2012

The Best of Weird Tales in 1923: "The Basket" by Herbert J. Mangham

Tonight I want to tell you about another story from the anthology The Best of Weird Tales: 1923. Titled, "The Basket," this story was also in the first issue of Weird Tales.

Some summary: it's about a guy who stays at a boarding house who is extremely indeterminate. He doesn't tell anyone anything about who he is. He isn't very unique in terms of his physical appearances. And, he's a kind of random, unassuming sort of guy. Without spoiling the story for you, he simply "goes away" in the end. I won't tell you how.

I find this story extremely interesting. The protagonist is so anonymous. That is what I think his main characteristic is: anonymity. This is so interesting when one considers that specificity of character, setting, and time are what some would say defines the "novelistic" style. Sure, this is a short story, but it's still written in the "novelistic" or "realistic" style, if you will.

The first story from this anthology that I looked at is titled "The Grave," and it relates the story of a soldier in World War I who was buried alive and who tries to stay alive; and the main aesthetic effect of that story is confusion. He didn't know anything: was he going to be rescued? How many days had passed? Was the battle still raging?

Here you have a story where a character shows up, he's shrouded in mystery, and he disappears. And so, it's similar to the previous story in that the thematic preoccupation is "cognition" or "knowledge". The story depicts a protagonist who knows nothing; in the second story, we, as readers, know nothing.

I'm seeing a thematic preoccupation in Weird Tales with the unknown. Could these stories be thought of as thematically focused on unknowns?

Saturday, February 18, 2012

Serialized Pulp Novel: The Rogue and the Merchants (Part 22)


Here is serial 22 of my pulp novel, The Rogue and the Merchants. As usual, here is a link to the full transcription, thus far, if you want to know more about the project, the source of the manuscript, or the story of the novel's genesis. Also, all of the illustrations I've been composing are there as well: Pulp Novel Project: The Rogue and the Merchants

An update: I've painstakingly transcribed 8 pages and I'm at precisely 9228 words. That's approximately 1150 words per page! I don't know what I was thinking, typing this up the way I did. 

8 fulls pages of 30 transcribed; 9228 words
I don't know why I'm fascinated with the manuscript the way I am. But, here's another picture of it. Along with my Atlantean sword. 

Please know that the Rogue would never use anything like the Atlantean sword.


Anyhow, here's serial 21!

In spite of Brol's command, the entire entourage had, but a few hours later, huddled themselves into Brol's tent to listen to his conversation with the Rogue. Thus, the tent had become thick with smoke due to the many long-stemmed reed pipes being nervously puffed on. Indeed, everyone sat around smoking, drinking steaming blackroot, and chewing trailcakes which had, at this point, become but barely palatable.

In sober voices Brol and Taous related to the Rogue was had happened. Details were filled in by an occasional merchant who squeaked in animated fashion, and Rew threw in a comment every now and again. Occasionally even Paj chirped out a comment, though he still seemed quite distraught and spent most of the time, his hands wrapped around his knees, rocking and muttering to himself in the corner of the tent. And here was their story, as the Rogue pieced it together.

Perhaps an hour after the Rogue left on Brol's horse, the merchants had a good fire going and were brewing their blackroot and tea and preparing to cook the very last of their salted meat that they had rationed to this point. The stars had come out, and Paj--a cartographer and astronomer--was pressed by the terrible notion that the constellations looked strange and unfamiliar to him. He wasn't able to confirm his suspicions and fears with the others as a thick fog rolled in that becloaked sky, camp, and distant canyon. 

The merchants were not concerned, though one or two of the more suspicious young among them muttered some misgivings. In the meantime, the night air had cooled down and this quickened them, made them feel somewhat hopeful. They had no plans to go anywhere that night and they were sure the sun's light would burn away the fog in the morning. The idea that they were approaching swampy lands disturbed them (where did this fog come from, if not a bog or swamp as nearby); but Brol chastised them and led them all in a prayer to their hearthfather god. This seemed to calm them. 

All was fine until the first disappearance was noted. 

Paj was playing a tiny woodflute on the margins of the camp shrouded in fog, when he heard the faint voice of one of his comrade's calling. Screaming? 

Not thinking of the sound as anything threatening, he put away his pipe and moved toward it. A great gust of wind came, lifting the fog like a certain for but a moment. And so, poor Paj got the first glimpse of them

Standing over one of his comrades, its pointy chin dripping gore, was one of those beasts. It was quickly flanked by two more who flew out of the darkness--claws outstretched, veiny wings unfurled, eyes like glimmering jewels. They grinned at him, revealing their knife-like teeth; and Paj, horrified, screamed and screamed to the highest heights his lungs could carry him, and turned and ran back to the center of the camp. 


The Best of Weird Tales in 1923: Orville R. Emerson's "The Grave"

So, I recently purchased an anthology of stories from Weird Tales titled, The Best of Weird Tales: 1923. This was supposed to be the inaugural book in a series of book--one for each year of Weird Tales publication. Not really sure what happened, but I'm sure what didn't happen: this was the only edition released.

Gods, I would have loved if they had done the entire series. Alas. Nevertheless, I've very greatful for this anthology, of which I read the first two stories and extremely enjoyed them. In this blog post I want to tell you about the first story, a story titled, "The Grave" by Orville R. Emerson. If you don't recognize this name, don't worry. I don't either. I did some google searches for him, and found nothing. Nothing whatsoever (aside froma  few passing references to this anthology and this *one* story in Weird Tales. I don't know why, but I find his anonymity intriguing.

Anyhow, what's this story about? Well, it takes place during "the Great War," and it is ostensibly written as the memoir of a German soldier who has been trapped in a underground fortress after it has been bombarded by allied rail guns. The story relates his struggles to survive: organizing supplies, rationing food, digging his way out, etc.. It's kind of a demented Robinson Crusoe, if you will. I won't give away the end because I think you should buy the anthology (it's a small press! c'mon!) and read it. But I what to reflect on some really interesting thematic issues.

Confusion and ignorance. The protagonist spends that vast majority of the time attempting to understand his situation. He thinks he will be relieved after the battle is over. He thinks one of the sides will stop to help the soldiers captured in the destroyed fortress. And so he's optimistic. After a while he starts second guessing himself. He then starts trying to keep track of the day and time, but can't, considering he's closed off from the world. And so, he doesn't know how long, i.e. how many hours, weeks, days, months he's been underground. Eventually he starts falling in and out of sleep and starts imagining that he's doing things he doesn't remember. For example, he'll committ to only eating so much of his rations; and, he'll wake up, and more rations are gone. He wonders, did he do this in my sleep?

Historical resonance. Considering this story was written in 1923, a time when the horrors of World War I were no doubt still lingering in the "cultural imagination" in the states, I think there is some intense "allegorical resonance" here. You have a protagonist extremely confused, hearing bombing all around him, struggling with rations, trying to say sane. Is it useful to think of him as a representing of a kind of universal experience of modernity at that time?

Anyhow. I wanted to share this story with particularly and this anthology with you generally. I hope to review more in the future.


Thursday, February 16, 2012

Isaac Asimov's "The Last Question": The Potential of Science Fiction Narration

One of my favorite Isaac Asimov short stories is "The Last Question," published in 1956 in the pulp science fiction magazine Science Fiction Quarterly. At just under 4500 words, it tells the story of the fate of humanity, the cosmic intelligence humanity creates, and the entire life and death of the universe.

Think about it: 4500 words and the entire story of the cosmos is related to you. This is truly astounding, a word etymologically linked to the latin extonare (which means to be struck with lightning). It not only "makes you think," but it blows up your mind, if you will.

Some summary: the story opens and some computer engineers are celebrating together because they have just built a supercomputer that has been able to solve all of humanity's problems. Economic scarcity, political differences, production, everything: all these crises have been solved by the computer called Multivac.

In spite of their happiness, however, they start thinking about the far future. In conformity with scientific law, they hypothesize, the universe will and has to end entropically. It will simply fade away. This is the famous problem of entropy that shows up throughout a lot of the science fiction of the 1960s and 70s and onward.

In spite of their happiness, these engineers can't stop dwelling on the fact that they have just saved a world that will necessarily be destroyed. In fact, destruction, according to their hypothesis, is a physical certainty.

And so they ask their computer a question: "How can the net amount of entropy of the universe be massively decreased?" In other words, how do we stop the universe from being destroyed. The computer's answer. Five words: INSUFFICIENT DATA FOR MEANINGFUL ANSWER. The story proceeds and more and more computers are made throughout the many eras of the universe until, finally--can't help but spoil it--an answer is found for this question.

There's a lot going on in this story. I want to highlight two elements I find interesting.

First element: this story paints an interesting picture about humanity's relationship with technology. In large part, technology is painted as a kind of savior of humanity. Without giving away the end of the story, the computers continue to grow and human interactions with computers become more and more intimate; eventually, computers and humanity are inextricably bound together in a kind of "erotic" union. This is the story of human's merging with computers and technology, a story told over and over in science fiction in the form of cyborgs, androids, intelligent machines, etc..

Second element: we have in this story a powerful demonstration of the potential of science fiction narration. Incorporating the mythology of science into its narrative logic, science fiction texts are able to represent not only the human world--which is somewhat limited (in space, in time--a city, a nation, a planet)--but the entire cosmos. Let me be clear: there are no pychologically nuanced characters in this story. Human beings, in this narrative, are less individuals and more a flowing force of energy, like the molocules of water in a river; nevertheless, this sort of macro-perspective is something science fiction really does well.

If you haven't read this Isaac Asimov's, "The Last Question," it's available online for free. Here's the link: "The Last Question."

Wednesday, February 15, 2012

Serialized Pulp Novel: The Rogue and the Merchants (Part 21)



Here is serial 21 of my pulp novel, The Rogue and the Merchants. As usual, here is a link to the full transcription, thus far, if you want to know more about the project, the source of the manuscript, or the story of the novel's genesis. Also, all of the illustrations I've been composing are there as well: Pulp Novel Project: The Rogue and the Merchants

***


In a puddle of coagulating blood lay the small, red corpse of a mysterious creature the Rogue had not seen before. It's body was the size of a small dog or lamb. It was shaped by a particularly lanky and long-armed human, only its ribs were far more abundant, pronounced, and sharp. It's skin was a shimmering crimson red and it appeared to be stretched taut over sinewy flesh. From the shoulders branched out bat-like and leathery wings that were twice the length wide as the body was long. The wings were of thin, veiny skin, although one wing was ripped and patchy and shriveled. The most disturbing aspect of the creature, however, was its tiny face. The nose was long and pointed like the poniard. The cheekbones were high and sharp; its eyesholes were deep and the bones angled in. The eyes--which were wide open in death--were a bright green and the irises of the eyeballs were slitted like a cat's. The chin was nearly as pointy as the nose: long, curving, sharp. Finally, the mouth, which gaped open in death, was filled with hundreds of curving, knife-like teeth set in tight, black gums. The teeth were caked in greenish, yellow grime, and a long, forked and red tongue lolled from the black mouth.

"Behold!" Brol said. "You see that our comrade Rew should be forgiven his enthusiastic thought not so fanciful characterization! I! I have seen such creatures depicted in the grimoires once shelved in Spiral Towers! And always. Always! Those are illustrations of demons!"

Brol looked at the Rogue and narrowed his eyes. A kind of challenge lingered there.

The gruesome sight of the red corpse lying on the ground stirred revulsion in the Rogue. His stomach lurched. But, taking a deep breath, he steadied himself. A silence fell about the camp as the merchants waited for his reaction. The Rogue looked to Brol, who now held a bloody rag to his wounded eye, and trembled, and wheezed. Obviously the doubt of the Rogue had hurt him. Thus the Rogue felt shame, for he had doubted the merchant. He had thought of Brol as a fat, city-dweller; and he had expected to see that he had killed a coyote or wolf pup, at most.

Though he did not know what it was, the Rogue now desired to know more of how the creature came upon them.

"You say a group of such as these came and killed--or dragged off!--three of us! And that you, good master, have killed one of them! Please! Tell me everything! I've a few things to tell myself, of where I went and what I found in the canyon. But. Please! Inform me of all that transpired after I left last you last eve first!"

"Indeed," said Brol, spitting, throwing aside his rag. He turned to return to his tent. "Tauos! Boil water, by the gods! Everyone else! Return to your tents!"

Visions of Delight, Visions of Horror (Post 6): Technology-as-Human versus Technology-as-Anti-Human

Pre-Post Preamble

Today I'm going to continue my post series that is an attempt to log and to preserve the insights that came out of a science fiction class that I taught at Case Western Reserve University in the Summer of 2011, titled, "Visions of Delight, Visions of Horror: Technology and the Cultural Imagination of the 20th century." 

Here is a link to the first post: Visions of Delight, Visions of Horror

Now that I'm on post 6 I feel compelled to offer a table of contents of previous posts. Here they are:


As I'm proceeding through this post series I'm starting to realize how each post is going to become less and less "self-contained" as I proceed; by which I mean, I find I am compelled to refer to previous posts in a way I haven't had to in previous post series. 

***

Another text we treated in my science fiction class was an episode of Star Trek: The Next Generation. The was episode 14 of season 1, titled, "Datelore." This episode truly captures the theme of ambivalence towards technology that was at the heart of the class.

Data and Lore
Some summary (I'm taking some ST:TNG corpus knowledge for granted here): the Enterprise stops by the planet where Data was found by the Federation. There they find in a hidden chamber an exact replica of Data, except this replica is disassembled. They bring the android pieces on to the Enterprise and reassemble them. It turns out, this is Data's brother, another android by the name of Lore. Immediately there are things about Lore that begin to disturb and stir the suspicions of the crew. It turns out Lore was disassembled because of his evil tendencies. He thinks androids are better than humans and therefore they deserve to die, or at least serve androids as slaves.

What is so interesting about this episode, I think, is the two separate visions of technology that emerge out of the two different android characters. 

Lieutenant Commander Data is a kind of "Pinocchio" figure who loves humans and strives to be a human. Data is moral and helpful and very often endearing. 

Lore, on the other hand, is a megalomaniac. He is deceiving and extremely powerful; furthermore, he thinks of humans as flawed and as insects that are dispensable.

We begin to see in this episode all sorts of parallels with the previous texts we've treated in this class. 

Ray Kurzweil and Transcendent Man

In Kurzweil's documentary, Transcendent Man, a major debate is whether or not the super intelligences he predicts will be empathetic to humans or hold us in contempt as insects. Hugo De Garis obviously believes the latter is the case while Kurzweil believes that not only will the robots serve us, make us better (his argument is much stronger), but that the robots will be us

And so, we can perhaps see in Data--struggling to become human--as suggesting Kurzweil's vision of technology; and we can see Lore--the evil, human hater--as suggesting De Garis's vision of technology.

Star Trek (Episode 7): "What Are Little Girls Made Of?"

We see this very ambivalence played out in the Star Trek episode I treated in an earlier post. In episode 7 of Star Trek you have two avatars of robots or technology: Ruk, the human hater, and Andrea, the robot who falls in fall and commits suicide when she realizes she will never be able to love.

The Twilight Zone (Episode 7): "The Lonely"

At the end of this episode the android, Alicia, is shot and killed. I'd like to suggest that the episode doesn't key us into how to read this. Is this a murder? Something horrendous? OR! Has the protagonist (who was in love this this android?) been freed from a kind of spell? Was Alicia truly in love with the protagonist? Or, was Alicia's love an illusion, the product of software?

***

Robots-as-humans versus robots-against-humans: this is an ambivalent, vexed issue that recurred consistently throughout the class. The core queston these texts seem to be asking is, is technology of us? For us? Inextricably bound to us? 

OR! It technology becoming something else? Something other? And therefore, something hostile or something we should be suspicious of?

Hmm...

Monday, February 13, 2012

The Weird History of the Novel (Part 5): *The Hobbit* and the Juxtaposition of "Epic" and "Realistic" Narrative Modes


Tolkien's illustration of "the Lonely mountain"
So, today was the third day in the "History of the Novel" class that I'm teaching that focused on J.R.R. Tolkien's The Hobbit. We have one more day with it. And in the course of the discussion my take on The Hobbit crystallized. I'm taking this post as an opportunity to get it down, before it flies the coop of my brain, if you will. What is a "Web Log" for if not to log such things, I ask?

Here's my thesis put simply. I'll back up my claims below. The Hobbit represents an important moment in the history of the novel because it combines two types of narrative: (1) the realistic mode and (2) the epic mode. Let me explain what I mean by this.

We started the class with Defoe's Robinson Crusoe. This novel is often cited as "the first novel," and it represents a new kind of narrative for a variety of reasons. To make my case I need to list some of its characteristics.

Main Characteristics of the "Realist Novel"

(1) The characters featured aren't aristocrats (lords, ladies, knights, warlocks, etc.); rather, they are middle class men of business.

(2) The narrator spends time describing the micro-details of the fictional world. Lots of time in Robinson Crusoe is spent on details like what Robinson eats, how he gets his food, what kind of shelter he builds, what he wears, etc.. We take it for granted now that this level of detail is treated by novels.

(3) The narrator spends time on "psychological introspection." Robinson often reflects on his life, where he has been, what kind of person he is, and how he should change. Also, he undergoes some changes.

(4) There are no mythical elements. No dragons. No wizards. No ghosts.

Let's compare these elements to the other kind of narrative I think The Hobbit incorporates.

General Characteristics of the "Epic or Romance" 
(As an example, let's think of, say, Malory's Le Morte d'Arthur)

(1) Characters are aristocrats and royalty.

(2) The narrator does not spend time on micro-details of life and dwells, rather, on "globally significant things" like political alliances, personality conflicts, love affairs, and hatreds.

(3) The characters are not psychologically introspective and therefore appear psychologically flat. They do not undergo any apparent changes. Crisis rises from the interaction between static personality traits.

(4) There are indeed mythical elements: magical knights, fairies, wizards, giants, magical items.

***

The innovation of The Hobbit is that it combines these elements together. It strikes both an "epic" and "realist" tone. Let me highlight a few ways that it does this.

(1) Bilbo isn't an aristocrat. He's a middle-class fella, a kind of gentleman akin to Robinson; and yet, he interacts with epic characters like Elrond, Beorn, the Goblin King, the King of the Eagles, the King of the Elves, Bard Bowman. Bilbo is a normal fella. And yet he rubs shoulders with the "shakers and movers" of the world who usually populate epic narratives.

(2) The narrator spends time on micro-details, like how Bag End is built; indeed, pages and pages will be given over to meditations on what, say, the Elvish King's hall looks like; and yet--in spite of this slow narrative pace, entire battles can be glossed in a paragraph; epic battles with dragons can be related in a few sentences. We have both narrative registers: the focus on the surface-texture of the world characteristic of novels. And, we have epic narrative pacing--Esgaroth is destroyed in a paragraph; the battle of five armies is related in a few pages. And so forth.

(3) There are characters who undergo changes in this novel and there are characters who stay the same. Beorn, the Elf-King, Bard Bowman, the Master of Laketown, the Goblin King--these guys don't change. They are who they are. Bilbo and Thorin, the dwarves and Gandalf--they are psychologically complex in a way only modern "novelistic" characters can be: inconsistent, self-questioning, surprising, evolving.

(4) In The Hobbit you get meditations on both the quotidian and the epic. There are long descriptions of how many coat pegs Bilbo has; there are passages relating what he eats and his genealogy. AND! And there are passages portraying fights with giant spiders, goblin armies, encounters with strange unknown monsters (i.e. Gollum), dragons, wizards, wargs!

In sum, we have in J.R.R. Tolkien's novel an important moment in the history of the novel because he brings together two separate narrative modes: the realist and the epic.

Sunday, February 12, 2012

Serialized Pulp Novel: The Rogue and the Merchants (Part 20)



Here is serial 20 of my pulp novel, The Rogue and the Merchants. As usual, here is a link to the full transcription, thus far, if you want to know more about the project, the source of the manuscript, or the story of the novel's genesis. Also, all of the illustrations I've been composing are there as well: Pulp Novel Project: The Rogue and the Merchants

Apologies for waiting so long to continue the serialization! I usually transcribe if I have the time in the evenings. Just can't seem to find the time lately.

Anyhow, here't the 20th serial!


***

At first, these strange words did not register with the Rogue. He thought Rew spoke figuratively. Demons.

And yet, after a moment's pause, Rew's clear conviction stirred the Rogue. Tauos and Brol did not speak up to elaborate what Rew had meant.

Demons. It was as simple as that.

But then the Rogue's natural skepticism overwhelmed him and he looked at these men, trembling, disturbed, speaking of demons, and he spat on the ground. What disturbed him more was that their superstitions had resonated with him. He then saw it as his duty to bring them back to reason. To do so he would have to identify and kill whatever it was that had attacked and wounded Brol. Perhaps it was a large cat. A wolf. It did not matter. It had become a specter to these men. And the Rogue would seek it out. The Rogue shifted his blade hanging from his belt.

"Speak clearly, man! Demons! Nonsense! You've obviously been smoking too much lassra weed to indulge in such phantasies! Now--tell me clearly. What was it that stole into the camp?"

Tauos frowned. Rew gritted his teeth. And Brol--after a moment--he laughed heartily. Standing from his chair against the protestations of the other two merchants, Brol approached the Rogue.

"Perhaps Rew and Tauos speak too soon by calling these things demons, but it was a sort of monster that crept into our sleeping camp last night. They have most surely killed three of us, or dragged them off to a fate word than death, at least. I'll prove it to you, my skeptical though good-natured slave. I managed to kill one. It's corpse is rotting outside of my tent, covered by a cloak because it was too horrible to look upon. If you're not too frightened, good slave, I'll show it to you. One look is worth an entire evening's discussion about what befell us when you went away."

The Rogue respected Brol, and so he assented. He helped Brol out of the tent. With the aid of a pole-blade used as a walking stick, Brol left his tent and proceed to go around to its back.

By that time the other merchants had heard of the Rogue's return. They had left behind their breakfasts, their steaming cups of blackroot, their conversations, in order to witness their savior's return. Many of them were mustering in the camp when Brol, the Rogue, Rew, and Tauos issued from it.

Eventually they all came to a small mound covered by a blood soaked cloak. They all stared at it wordlessly.

Brol was flanked by Tauos. Tauos was rubbing his chin thoughtfully. Rew had his arms folded across his chest and his eyes seemed to tremble with suppressed emotion. And Paj--the groveling fool who met the Rogue when he returned to the camp--he was in the middle of the remaining merchants, gibbering and crying. He was muttering to himself and whispering to his companions, who leaned away from him, embarrassed and disturbed by his behavior. Obviously, whatever had happened the the merchant's during the Rogue's absence had deeply effected Paj's mind.

Brol knelt down next to the blood soaked cloak and sighed when his wound began to bleed again. "I warned you, Brol!" Tauos shouted, coming to his leader's aid. "Shut up, fool! I need to show our mercenary the horror came upon us last eve!"

With that Brol dragged off the cloak revealing a sight horrible to the Rogue. The Rogue's breath came shortly. He felt his mind reel, the knot of his sanity loosening. He swallowed.

Jim Henson's *The Storyteller*: "The Soldier and Death" and the Pleasure of Narrative Pacing

So, last night we had some friends over for wine and board games. It was a 5 player game and I bowed out, being a host. And so, while everyone played, I sat on the couch and began to aimlessly wander through Netflix's offerings. In the course of these wanderings, I came to watch one of my favorite "film fantasys" of all time, an episode from Jim Henson's 1988 "live-action/puppet" television show, The Storyteller. The episode I watched was called, "The Solider and Death."

If you haven't seen Jim Henson's The Storyteller before, I highly recommend it to you. Here's the concept of the show: each episode takes an obscure, European folktale and relates it through live acting and puppets. There are German folk tales, Russian folk tales, and Celtic folktales. And they are all done, I think, quite well.

The one that has stuck with me the most is "The Soldier and Death," episode 5 of the first season. It stars Bob Peck as the soldier. It relates such a multifaceted and swirling plot that it's very difficult to summarize. Suffice it to say, it's about a miracle worker who, in spite of his humble beginnings, comes to capture death.

There are all sorts of reasons why this is such a good production. Let me try to highlight a few.

In terms of cinematography, this episode (and other ones) is "formally" and "technically" creative. It doesn't just rely upon scene to tell a story. It's utilizes many different "narrative modes". For example, the story isn't told primarily through showing the action of the events. Sometimes the plot is related through the spoken dialog of "the Storyteller" (played by John Hurt). Hurt's acting and storytelling abilities make the folktale thrill almost as much as the puppets and the effects. And the narrative pace is diversified. Sometimes you get slow-paced "scene" and detailed sets; other times you get "summary" and two-dimensional, abstract sets.

Devil puppets
To an extent, you have here three narrative levels: the storyteller telling the stories, the specific scenes where you see the protagonist talking with people and doing things, and the more two-dimensional, abstract scenes where large swaths of the narrative is related in a sentence or two.

Put briefly, this story is great because of its ability to master narrative pace. All in all, "The Soldier and Death" doesn't last any longer than 25 minutes; and yet, in the course of those 25 minutes, you see the main character going from a humble, homeless soldier to a miracle worker, to a kind of epic hero who visits both hell and heaven. You have in these 25 minutes enough material, I think, for a series of novels, but the treatment is such that, after the 25 minutes, you feel like you've truly been taken somewhere.

Another element of this production I love: the puppets. As a little kid, these demon puppets haunted me. After watching this, I had an entire series of nightmares, featuring these little red, be-horned fellas. When I would wake up in the middle of the night, I would imagine that if I looked out my window I would see a similar cabal of demons smiling and chortling there.

Saturday, February 11, 2012

C.L. Moore's "Dust of Gods": Materiality, Spirituality, and "Anti-Science" Fiction

This morning I read the story, "Dust of Gods," by C.L. Moore. Because I may be studying her for my dissertation, I thought I'd share some thoughts with you regarding this story.

C.L. Moore (1911-1987)
Who is C.L. Moore? She's a wonderful pulp writer who published in (in addition to other places) Weird Tales. Her most important contribution, I'm inclined to believe, is to the "sword and sorcery" sub-genre of fantasy. Her character of Jirel of Joiry is one of the earliest female sword and sorcery characters and is a precursor, I think, to such strong feminine warriors as... hmm... Molly the Razor Girl in Neuromancer, Xena the Warrior Princess, and, say, Kara Thrace (i.e. "Starbuck") from Battlestar Galactica. If you haven't heard of her or read her work, "Dust of Gods" might be a good story to start with; however, it doesn't feature Jirel, who, I think, is her most famous creation.

What is "Dust of Gods" about? The narrative is a traditional "infiltrate a forbidden dungeon/underworld" narrative. This is an old time narrative, with many, many precedents in the Western literary tradition: Gilgamesh's search for Utnapishtim in the land beyond; Odysseus's decent into the underworld; Aeneas's descent into the underworld; Dante's descent into hell; and onward to, I'd suggest, more recent "dungeon crawls" in the Dungeons and Dragons / sword and sorcery tradition.

But it's in the specific plot elements and not in the general narrative structure that this story delights.

Basic plot summary: It's about a space mercenary, Northwest Smith, who is, many have suggested, the model for Han Solo of the Star Wars universe. Smith and his sidekick, the Venusian, Yorel, have been contracted by an eccentric fellow to go and find an interesting artifact: the "dust" of some god. This eccentric man explains that, in order for the gods of other worlds to manifest into our world, they need to take "material shape." And, while these gods are immortal, their mortal/material shapes are subject to degradation. And so, the "dust" Northwest Smith and Yarol are hired to go and find it a kind of husk left over after an extradimensional god has infiltrated our world and left.

I won't spoil things by relating the interesting journey in search of the dust. Suffice it to say, it's worth a read and filled with thrills.

I do want to comment briefly on what I see as a very interesting theme that pervades this story (and C.L. Moore's fiction, in general). And this theme is the tension between the material and the spiritual, i.e. the worldly and the otherworldly.

In this story a major premise is the distinction between two separate realms of existence: the material world of mortals and the immaterial worlds of the gods. A lot of the tension grows out of the interplay between these two worlds.

It's interesting because, to a large extent, we might look upon these Northwest Smith stories as proto-science-fictional. Why so? They take place in space. There are ray guns. There are intergalactic empires. And yet--the material/empirical vision of the world science is founded on is critiqued in these stories. It's as if, according to the logic of this story, the suggestion is made that this world, the material world of the senses, is suspect. Not only is this "soft" science fiction. It's "anti-science" fiction.


I definitely need some help to make a case for this. There's a anthropological theorist of modernity, Bruno Latour, who, in his famous study We Have Never Been Modern (1991), suggests that the key to understanding the vision of the world prevalent in the modern Western world is to acknowledge its emphasis on two realms: (1) the world of the senses, the objective world of matter, and (2) the world of culture, the mind, the spiritual. According to Latour in his book, "Modern" "Western" folk distinguish between the subjective world and the objective world, a distinction, he suggests, not made by everyone else.

What attracts me to C.L. Moore's story, here, is that it seems to play with blurring the lines between these two ontological planes. The spiritual and the material get mixed up. And so, in narrative form, we have a kind of critique of a first principle of a scientific worldview. She's not writing "soft" science ficiton. She's writing "anti-science" fiction.

Friday, February 10, 2012

Flash Fiction Friday - Cycle 67 - Romance

This is a flash fiction I'm submitting to an online writing community. Here is a link to their website: Flash Fiction Friday. I've just started participating with them and it's been a lot of fun! Check it out!

Unlike the other original flash fiction I feature on my blog, the following is not an example of a "weird" genre, by which I mean science fiction, fantasy, or supernatural horror.

Rather, this is what I would call "literary fiction," which I believe is a genre unto itself. If I was forced to be more specific, I would call this a "romance," considering its about a marriage that falls apart and is put back together.

Anyhow, the following flash fiction is approximately 1200 words and it's titled "Lift." It's about a couple whose son tragically commits suicide and the effect of that suicide on their relationship. 

And so, don't expect robots, or dragons, or cosmic horrors. 

Just a few folks and their attempts to deal with a difficult situation.

***

Lift

He smokes his cigarette. Trying to describe him. Hooded sweat-shirt. But it's him. It is me. God, this is exhausting.

In a coffee shop in Euclid writing to you. I'm writing.

We're together at a restaurant now, hearing Sinatra.  Our son has been shot but we don't know why or who or even where, only that they took him to the hospital. Answer your goddamn cell phone.

And she answered it.

"Coming. I am coming."

The hospital coffee is weak. I drink it. I'm trembling, want to drink six beers because I can't cry. Jessica is sobbing angrily. I am standing away. When the security guard looks at me, I feel ashamed. I smile at him and look away, sweating. I am guiltless, yet I feel guilt.
 
Not watching movies. They have betrayed me. Bogey can go to hell. 

Years. We don't look at photographs. He was sixteen. She has become distant. I don't close my eyes when we make love, and when she looks at me, I am ashamed. I turn away. She had her womb removed recently.

Have my coffee in the morning and pet my cat but am gazing distantly at the old black gum and wondering, trying out dialog, structuring narratives, looking for a pattern that is probably not there.
 
"You're always fucking bringing him up. When are you going to stop doing that? Jesus. It's been six years." Slammed door. Sobbing. The cat is begging me for treats and, speechless, I stroke her back, but he did love this cereal. I will keep it a secret now.

Trying to put this the right way. Trying to tell you what happened, why it happened. I didn't know who he was, but there are plenty of photographs. I walked into the study and she was clicking through them on the computer. It was like I had discovered her looking at pornography.

I'm rinsing the tomatoes when she falls. It's strange. Once again I'm going to the hospital. She is speechless. It is just diabetes. Low sugar.

I pay for the gasoline inside and get coffee, newspaper, pack of gum. This is a moment of clarity for me. I tell the kid there, "Thanks," and ask, "Cancel for credit?" He nods. I want to ask him, "How's the night going? Good book?" I do not. The car is running.

Clicking through the news now, dissatisfied. Checking this and that. I notice my cat has groomed a hole in her coat and she is bleeding. She looks at me longingly. I cry.

Jessica has divorced me. I stare at the bed often. I don't drink coffee anymore. I am detoxifying myself to no effect. I agree. I am a brick. Distant, mopey, all of that.

But I'm free to indulge now. I go through his books, his roleplaying games. I look at his miserable handwriting on notebook paper and am fascinated by his e's. What is this?

Disengaged. Struggling with my work. Not hungry. Yesterday I cursed out a man who was in the road with his blinkers on and felt ashamed. He was an old man. So am I.

Meet her on his birthday. She is still driving the Honda. She is a silver beauty, thin as a razor, all smiles. She enriches me. I want to talk forever. We walk to his grave and she says he was a good boy, though this is awkward. We get breakfast. I have already eaten, so I get water but am absolutely miserable for coffee. She gets French toast, cuts it into tiny pieces and dips it. I am fascinated by this. Magical. She is genius. I order coffee. We talk in circles: work, cat. My failures are politely evaded. So this is how it turned out.

We make love at home, but there is a sweetness and awkwardness to it. I do not finish, but she masturbates on me and cums silently. After, we nap. A good one. I wake up and she's watching streaming videos. We are married again.

She is more successful than I am. She is organizing a consortium on something, making phonecalls, e-mailing. I am a fiddler. I cannot commit. I dabble. My habitat is a basement with a guitar, a garden, a few tawdry collectibles.

Joseph.

"I am coming. What the fuck do you mean he was shot? You've got to be kidding me. Are you fucking kidding me? Get in the god damn car. Jessica. Jessica, put it down. Calm down, Jessica, please."
She is crying, I am driving and crying. I am leaning heavy into the steering wheel. My teeth are chattering. Can you hear them? I almost run someone off the road exiting. 

Fly me to the moon, let me play among the stars. Let me see what spring is like. On Jupiter. On Mars.

He is dead when we arrive. I am telling you the truth. His face. His mouth closed, lips drawn tightly. 

He is keeping a secret from me.

She sits on the couch in the living room, her hands in her face. I am standing away. She sobs in great huffs and I stare at her. She keeps asking me questions. There is never a clear motive save the ones we invent, we try to imagine.

The funeral. More crying. You get the picture. We decided on a Methodist minister and Rabbi.

He's fragments. An Indians hat. A collection of books. Some eagles. I'm smelling his t-shirts, holding up his pants, and nothing. My son suicided. It is beautiful for its narrative unity.

This morning I drive Jessica to the airport. She's going to a conference. We listen to German immersion. "Ich heisse…Mein name ist…" She takes off lipstick, too rich. She looks clownish, she tells me. We have coffee before security. I am charged with the excitement of travel, though I am staying in Ohio. I feel sentimental and so I cup her hands. "What's wrong?" I don't know. It's lonely this early in the morning, when the sun is still rising, when the business travelers, with their shiny hair and their shiny shoes, strut through the airport. It is lonely here. I don't want you to leave.

She kisses the apple of my cheek and stands in line for security. It's miserable there, watching her take off her shoes, watching her expose her beautiful feet to the airport floor. I stare at her. Commit the sin of idolatry now. Her smile. 

It's a strange thing. I drive home. I turn off the MP3. It is silent on the freeway. The semi-trucks are passing me heavily, hissing as they go by. Somewhere above Jessica is climbing, approaching 600 miles per hour, though she is also sitting down, asking for coffee. She will receive coffee and perhaps a snack. "Cookies please." "Coffee and cookies." She will smile at the attendant who gives them to her before she breaks open the plastic wrapper of the cookies, sips on her coffee, and cracks open the pages of a paperback. This image of her fills me with joy.

The coffee has quickened me. It is wintering. There are a few hours until sunrise.