Goblin Mercantile Exchange

1. What kinds of flowers do the men of each culture put in their hair?

2. Grieving, forms of.

3. Are dreams seen but not heard? Heard but not seen? Felt only by the sense of touch at night?

4. How do people like to get wasted? Choose at least six social classes.

5. When people look in a reflective pool of water, what do they see?

6. What material are dice (or other form of gambling device) most commonly made from?

7. Are feelings considered to be insects or mammals?

8. Fingers and toes, attitudes toward.

9. What makes memories real?

10. Do the inhabitants of a continent believe that their land is, or used to be, a pristine eden, and yet have a nagging feeling in the back of their heads that at some point in the distant past (or perhaps it can’t be captured by linear, mortal time), it was decided that past inhabitants simply disappeared, simply because they were deemed inconvenient by the Author of the World?

“I’m just saying give me the weight. That’s all I’m saying. I’m here. Let me take it.” –Mitch, episode 10

One of the best shows I’ve ever seen, even though the last few truncated episodes (out of only ten) definitely have the echoes of the HBO executives screaming off screen: “Pencils DOWN! Pencils DOWN! Uh…You are weird and unprofitable!”

And, despite the weirdness, it’s not about esoterica but rather is an exploration of the exoteric. John (from Cincinnati, kind of, depends on what you believe the city of Cincinatus) appears in Imperial Beach and sets about letting, and showing, everyone that the end is near. It is. John is the end, and also the beginning. He shows that the need for community is plain and simple, and the signs and wonders that bring the disparate characters together Love your enemies, even if they’re the fuckers who you think have ruined your life. John’s foibles and miracles creep upon the Yost family, broken beyond almost any recognition. But they heal. The show does an amazing job of letting the fantastic elements (the levitations and resurrections) work asymetrically–you think that the characters don’t realize what the heck is going on, until they start postulating on the nature of the supernatural events. For all of the Gabriel Garcia Marquez-like surfing-town antics, this isn’t a work of magic realism. It’s much more of a Dantean allegory. The Yosts start at the bottom, but hope rises with each episode. Hope becomes incarnate. I don’t know, it’s hard to describe. Many reviewers of the show decried the fact of this allegory:

In “John,” you get the feeling that Milch is using the characters as hooks on a pegboard, on which to hang his philosophical wares. The writing in the series just has no pleasure in it, not as it hits the ear or in terms of getting us any closer to these people and their problems, mundane or existential. (source)

A matter of taste is one thing, but to say that the language of this show doesn’t “hit the ear” is that mainstream trick of ignoring all types of non-realism that don’t fit your definition of appropriate, well-measured non-realism. It’s also fucking daft:

“Bill: Sweet enough look to his mug, “I got my eye on you”. [What John constantly tells Bill, a retired cop, played by Ed O'Neill] When he restrains himself from running his mouth. (Bill has an apple, he motions to Zippy to keep it a secret from the other birds) Far as him being stabbed, I’m not doubting it could have been a hoax, I don’t subscribe it definitely was … (He’s slicing up the apple) being I and a bird of my acquaintance know a boy who survived fatal injury, following the bird’s own resurrection. Sole change from what I said to you previous, Zip: Last overlap between me and the Yosts, Butchie asking my help with that search. A P.S., my assistance. An end to the concluding chapter, and final completion and finish. (He’s handing some apple slices to Zippy. Suddenly he reacts to something he has “heard” coming from Zippy) That is senseless and offensive. I deal with that shitbird only to put him in bracelets. And I’m surprised you’d need me to say so. (We see Zippy bobbing on his perch, then squawks)

Is what you envision, relative to those people, I balance the Hawaiian’s bad influence? Well that, Zip, would outstrip by a full triple-somersault every previous unlikely set of circumstances. (He turns, grabs his jacket and leaves)”

Likely makes no sense, I realize, if you haven’t seen the show, but perhaps the greatest conversation between man and bird ever. (Seriously, Zippy the parrot is a wonderful character.)

Same review, different day, in other words.

And so what are we left with? A little less than 10 hours of an uphill climb to redemption. A warning and a promise. Big waves on a border town that humble all surfers, even the ones that manage to catch them. Maybe especially so. Derelicts and criminals and prostitutes building bonds, aware of these times of desperation, and willing to come together to do something about it in the spirit of prophetic imagination.

Oh, and Luke Perry.

So much of this simply boggles the mind. I’ll reiterate what I said over here…

#

I haven’t read the book in question. But I’ve always found her craft and pedagogy references, partic. to fantasy worldbuilding, to be really paint-by-numbers (and way over-referenced as some sort of canonical source for worldbuilding 101–hey, it’s on the SFWA site! There’s all sort of deep threads to other types of #fail here).

Looking at this list, it seems like she just followed her own line of questioning.

http://www.sfwa.org/writing/worldbuilding1.htm

Which to me, page after page, is COMPLETELY ahistorical. None of her questions have any bearing whatsoever into any type of (speaking very broadly) real political questions.

Or perhaps it could be put another way: the “race” issues for her are merely floating signifiers…to make the choice as to whether to have native americans in the book was of the same level of choosing as whether to have dwarves or gnomes in a book. Obviously, those signifiers for “real” races are very laden with significance, but, however carefully “built”, the limitations of this type of worldbuilding — unthought worldbuilding, at its core, is what’s especially damning. We are then touching the raw nerve of that very slippage of the meaning of “race” in the early roots of SF/F (i.e., the pulps when real colonization was still in full swing, as opposed to the lost continents and alien-inhabited planets of adventure fiction).

And there is something to be said for this comment in the thread above:

“The Man in the High Castle” was and is one of the flat-out creepiest novels I have ever read, but nobody calls Philip K. Dick clueless or a closet Nazi. the difference is the skill of the presentation.

This is all tying in to those Van Vogt posts, which are coming, promise!

I nearly drove off the road when I heard this on NPR.

Just listen to the whole thing. Bryce Lefever, ladies and gentlemen.

Complete with a “sit down, shut up, watch what you say” warning to the American people who dare question his espousal of torture.

And I really wonder–the fact that many of the people picked up in Afghanistan or Iraq are picked up by mistake, by accident, or turn out to be completely innocent. Does it ever enter into their mindset? No, it does not. That gap speaks volumes.

“I have no fondness for the enemy, and I don’t feel like I need to take care of their mental health needs.”

Almost as much shame needs to be put upon NPR, who gave this monster pretty much an open mic to spout off, with zero critical thinking, processing, or countering of his sick views. Thanks, Alix Spiegel. I know you meekly said, “Now, some psychologists don’t agree!” but actually, you know, putting one of the psychologists on the air would have been–what’s the word? Journalistic?

God forbid.

Let’s talk about the persona. Which is nothing new. The face I present to you isn’t my own face. How close? It’s hard to say.

What the writer in the 21st century networked economy offers is “face time.” Access and ease of use with the materials of one’s life. A small door, like the one on the seventh and a half floor in Being John Malkovich. (A prescient movie about the court of minor celebrity if there ever was one.)

There is always ejection, though, if not rejection (and maybe not as gracelessly as next to the NJ Turnpike). The openness is almost always a closed system. The “life of the writer” is offered as a secret system. Biographical material–whether whimsical or serious–are ice floes going forward on a madly rushing river. One blink and it’s farther downstream.

Writing, and by extension reading, is supposed to teach us how to pay attention. But is it valuable to pay attention to our own distractions? No matter how charming they may be? Why are particular tones taken as opposed to others?

The flesh and blood of interior thought. The rising motions and crestfallen frustrations. Their revelations are only another way to hide them. In plain sight.

It’s silly, for one, to think that fiction writers aren’t cultivating their personas as fictions. It is, after all, what they’re good at. None of this is a cause for chagrin, really. The essaying rumblings still can move us. But it’s good to wonder whether the writer is the incarnation or the persona? Which gives birth to the other?

In other words, reader, I can’t give you what you already possess. It’s already yours. “In a letter from the 1970’s, JH Prynne compares himself to a tree in a forest and asks why he should give the reader an axe.” (source) The power to create whatever meaning you choose has always been in your hands, and this is true no matter what the type of sentence.

I should be able to get in the spirit of Van Vogt blogging once I get the novel handed in, but I wanted to blog a bit about THRU YOU by Kutiman. I’m sure a lot of you have come across this already.

Aside from the amazing music mashed up from various YouTube sources, which (in general) has a Can meets Cody Chesnutt feel (with a healthy dash of the 70s singer-songwriter genre thrown in), the visual cues of the various people in their “garages” are wonderful to behold. It makes the whole idea of public vs. private music elastic and blurry.

(The coda of “I’m New,” for example, absolutely slays.)

But the ability to move backwards into the process–to investigate the credits and the original YouTube sources–is an act of astounding generosity, allowing the original contributors a moment of radiance, no matter how brief it might be. The songs both become more than the sum of their parts and a codex of compelling, “ordinary” musicians. One can backtrack for quite a lot of time.

Finally, it completely deconstructs the entire idea of the “one person band”, as evidenced by early solo McCartney and early Prince. The project could have the feel of robotic puppetry (manipulating loops of sounds) if the music itself wasn’t so multi-layered, warm, and from everywhere at once.

Hmm, I’m getting a strong sensation that someone is about to send me the manuscript of the Bachmannomicon. Don’t you?

More stories soon. Until then, “fans are Slans” interant archon Claude Degler:

In the weeekly sheets the Cosmic Circle program reached full form: Don Rogers [his pseudonym] answered a positive “Yes!” to the old question, “Are fans slans?” He proposed to contact cosmic-minded mutants everywhere, using radio prograns and other publicity to this end.

The most noticable characteristic of the publications was that they were the worst-looking legible fanzines ever published: abounding strikeovers; paragraphs nonexistent; edges of the stencil crowded, no spacing after periods; misspellings; overuse of caps, quotation marks, and underlines; wandering, unplanned sentences; countless simple gramatical errors like “can and has went” source

“We have created a fannationalism, a United World Fandom. Someday soon we will have our own apartment building, then our own land, our own city of Cosmen, schools, teachers, radio programme — later; our own laws, country perhaps! Our children shall inherit not only this earth — but this universe! Today we carry 22 states, tomorrow, nine planets! We can and will help to make a better world of the future — have influence and be an active force in the furtherance of scientific democracy in the post-war world! — attempt to conquer space travel and see another world — in our own lifetimes — while we of the council are alive! Our children will carry on this organization after we are gone — The Cosmic Circle now exists for all eternity.”

And his brother, with whom he had once tried to dig a hole to hell, killed their mother and then himself. . . . after which, Claude more or less disappeared, for good, save for a few apocryphal sightings.

*
“If you take an incident of severe, traumatic emotion, and wake yourself up every hour and a half, and think about it, go through it in your mind, and fall back asleep while you’re doing that, it takes about two weeks, for a severe incident, before it fades.” –Van Vogt

*

Rationality and dream. “Science-driven” fiction and cosmic circles.

“science fiction is concerned with the power of rationality” and “He retains faith in the principles of Dianetics, and is still president of the Californian Association of Dianetic Auditors.” (source, 1980)

1. The intro has this:

Spinrad seriously believes that the dissidents of the 1960s–presumably including the LSD and marijuana imbibers–are the only individuals on our planet who are living meaningful lives.

And we’re off!

2. The first story, “Don’t Hold Your Breath”, has to be one of the most disjointed, disturbing (bad disturbing, not good disturbing), ham-fisted stories I’ve ever read. The plot macguffin largely involves the protagonist looking to punch his mistress in the stomach.

And it’s hard to read the story generously when you read in the afterword, “Pollution is rapidly becoming a quaint reality.”

Oh hell, let’s call a spade a spade: it’s a repugnant story, limned with paranoid certitude and childish morality lessons. Even if Art Atkins, misogynist, is somehow slanted as an anti-hero, and Not to Be Admired, he’s written as enough of a free-wheeling archon of competence that Van Vogt is posing the question to the reader: well now, shucks, don’t you like him, just a teeny teeny bit?

3. I’m hopeful this gets somewhat better with subsequent stories. IS THIS ASININE?

4. A question that could be posed is: why bother.

(a) interrogating received forms of the science fiction story
(b) unsplicing the DNA of the science fiction story
(c) how much do implicit cultural assumptions drive the science fiction story, and more importantly, how do Golden Age cultural assumptions (or post-Golden Age assumptions still pining for the Golden Age) drive the science fiction story now, when those cultural assumptions are at best vestiges and, at worst, denigrating and heartless.
(d) and if (c) is the case, why the science fiction community still insists on those forms, and rewards those forms — or reacts against to those forms without necessarily seeing ways outside of those forms.
(e) canon-deformation

5. I honestly don’t know what to do with an author who says (in the afterword of this book): “I write in what I call fictional sentences.” What an absurd yet tantalizing idea. Probably not in anyway Van Vogt intended, but still. Are the sentences we write truth or fiction? At what point, if they are “real” sentences, do they weave together into a fiction? (Sentences becoming a story.) Part of this is guided by his ridiculous compositional approach (800 word scenes, each scene with five steps). But he then states that “In writing science fiction, I tried to write each sentence in such a way that the reader would have to make a creative contribution–that’s the science fictional sentence.”

This bifurcation of the reading experience (there are sentences, and then there are SF sentences) is the heart of the matter of SF. Well, one of them anyway. It’s a many hearted beast.

6. Onward…

Research on weird maps led me to this:

“…wood was, and is, the most distinctive medium used by the Greenland Eskimos in mapmaking. Blocks are carved in relief to represent the rugged coastline of Greenland with its fjords, islands, nunataks and glaciers, the shapes of the various islands being linked together with rods. In order to reduce the size of the blocks, the outline of the coast is carried up one side and down the other.”

Leo Bagrow, History of Cartography. Revised and enlarged

By R.A. Skelton. Cambridge, Harvard U. Press, 1960, p. 27.

Three-dimensional maps of coastlines were carved of wood as long as three hundred years ago. These Inuit charts were usually carved from driftwood and are made to be felt rather than looked at.
The land is very abstract. It is limited to “edges” that can be felt on a dark night in a kayak. Since they are made of wood they are impervious to the weather, and will float if they are dropped overboard accidentally.

0. I had started to write some notes for a blog post about the political and art a few weeks ago, but after slowly catching up on Racefail09, it seems depressingly abstract.

So here’s for something a little more concrete.

1. I’ve found a lot of the dismissal of the racefail discussion itself, in some quarters, to be pretty profoundly distressing. The attitude among some seems to be, “Well, we can find a more appropriate time/space for this discussion down the road…” Sure, the Livejournal-networked nature of the discussion hasn’t been easy to follow at times, but the important point is, it’s happening now. There’s never a “good” time–nor an idyllic place where these issues about race are going to find a lot of resolution. I have to respect the shape it has taken, in part because the issues themselves are so unfailingly knotted, complex, difficult…

2. In regards to the things that I write and I’ll continue to write…When I send my work out into the larger world, I don’t have any claims on its future interpretation. None. One of my favorite quotes is from Jean Cocteau, who once said (paraphrasing!), “If I build a table, it’s up to you whether you eat from it or use it to build a fire.” It’s the responsibility of the writer to let his or her work go.

3. With that said, it can be bracing to receive criticism. And suck. Of course. I’ve pretty much inured myself from the archetypal “bad review” (of which I’ve received many!). That my work is too difficult, pedantic, whatever. I’ve developed armor about THOSE kinds of things. But my upcoming novel does deal with multiple apocalyptic culture clashes, smack dab in the Midwest; it does have a middle class white family finding themselves confronted by an Other (multiple Others, actually). The novel flat-out deals with race. Perhaps obliquely, at a measure of distance because of the fantastical elements, but it’s there.

Right, so what? As Dave said, “I think that it is the responsibility of creators to thoroughly interrogate their own work.” I do my best and perhaps it’s far from perfection. I push myself to make no cardboard cut-outs. And even then I can concoct moments of epic fail–such as when, in (late) research for the book, I started delving into the Dakota War of 1862, right here in Minnesota: the mass execution in Mankato, the treaty violations, the carnage and–oh yeah–the mass internment on Pike Island, which killed hundreds.

It also happens to be the same island where my 16-year-old narrator and her family find herself, in a refugee camp.

Fuuuuuck. I mean, come on Alan, really? Macy is oblivious to this. But that is because: My narrator’s ignorance was my ignorance. She can’t know what I didn’t know. And now that I do know, the novel has to speak to that. In some imperfect way, but I can’t be honest with myself and my readers unless I try.

I still haven’t written that scene (and yes, close circuit to you-know-who-you-are, I really am almost done with revisions!). I want someone to talk to her about it, to call her on it. e.g., “Did you know this? What does it say about your upbringing that you didn’t know this?” The same can be asked of me. Macy goes through a lot of painful growth in the novel. She is up for it. I am, too, in whatever imperfect way I’m capable of.

4. In other words, it’s the revision, stupid (speaking to myself), both in the page and real life. Re-vision. Looking at the world again and trying to dig deeper. I will keep at it, and keep listening. And transform that into action however I can.

I’ve had this old cigar box ever since we moved into my wife’s grandmother’s old house eight years ago (has eight years really passed? anyway), and I had happened to just now look at the label on the side:

Sept. 1880
Union-Made Cigars
This Certifies, that the Cigars contained in this box have been made by a First-Class Workman, a member of the Cigar Makers’ International Union of America, an organization devoted to the advancement of THE MORAL MATERIAL and INTELLECTUAL WELFARE OF THE CRAFT. Therefore we recommend these cigars to all smokers throughout the world.

Beautiful. More products should have statements of purpose like this (e.g., on a car, right underneath the VIN).

Late note: I had misread the box! There is actually a comma after MORAL (…the advancement of the moral, material, and intellectual welfare of the craft). No spaces around it, easy to miss. But I’ll still hold in my head the idea of the moral material of the craft.

Throwing this out there–I have a very rough draft of an essay on Jack Spicer’s Holy Grail sequence. Is there anyone out there who would be able to take a gander at it and give me some constructive feedback? It’s been a looong time since I’ve written any poetry criticism. So if you’re familiar with those poems and would like to help a fellow out, drop me a line or leave a comment. Thank you!

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(Oh and if you haven’t picked up his collected poems that recently came out from Wesleyan, do so at your earliest convenience if you have any–any–interest in poetry. It’s a must read. I promise you will not be disappointed.)

One thing that growing up entails is learning that one, twice, three times in your life you will experience some passion–jealousy, love, lust, hate, grief–to the point where you lose it. If you happen to be in public, it doesn’t matter. You may collapse beside the park path and lie there five hours, unable to move, or you’ll stagger, wailing, through the traffic, or even go screaming after someone along the waterfront for an hour and a half.

It doesn’t happen often. If it occurs with any frequency, probably you need help–if not medication. If it doesn’t happen a couple of times, however, you’re not human.

–Samuel Delany, interview in Black Clock

We pass these people like car accidents when they’re in the public square. They are ordinary/us. But when it happens in a small(er), knowing circle of peers, it can be particularly damning, and destroy “the group’s” opinion of another. First impressions, etc. It’s utterly unfair to modulate one’s network against another when the above happens. But it happens all the time. Part of the impulse to do this, I think, is this decade’s information overload–there’s only time for so many friends, X many acquaintances. (As well as the “sensitivity to security” in the workplace: immediately considering a terminated employee as a mortal threat to be escorted out by security) If there are speed bumps, it’s best to move on. That is how the theory goes.

And yet, all this means is that people get better at hiding things.

This is what his response reminded me of…you just have to substitute “tax” with “tax cut”:

Rich Horton had nice things to say about David Schwartz’s The Sun Inside, published by our Rabid Transit Press.

And you can too, after you buy it and read it! It has dinosaurs, a journey to the center of the earth, poignant and bittersweet commentary on the Iraq War, and much more.

Well, as this blog whips up into shape again, it’s been an interesting experience reassembling it. For one, I actually managed to add my Twitter feed to my blog here. For the last month or so I have been posting the equivalent of “weird minute details” to the Twitter…and there always seemed to be a threshold/cutoff of whether a thought should be translated into a blog box or twitter box. And it has definitely been an interesting experience, as a writer, to work within the constraints of the twitter box. In fact it’s been helpful as an editorial tool. (It would be interesting as a pedagogical tool for a poetry workshop, for a student to keep a Twitter-journal though the course of a class.) So, really, the best of both worlds to have the Twitter feed here–although there is indeed something to be loved about posting bits and flotsam onto the blog as well. God knows this place is full of it!

I’ve finally upgraded my wordpress! So please excuse the mess as I get things into shape.

(the rss feed–except for bloglines–still doesn’t seem to work…phhhtt)

This should be an interesting experiment. I’ve just set up a Twitter feed for my 165 page speculative poem The Stations (which is free and available as a PDF download, and has a pretty open Creative Commons license).

It’s entirely possible that the poem might make more “sense” being tweeted, in passages, than a straight read. But I’ll leave that for you to decide.

Anyway, I’m taking out all the work for you to experience experimental, epic poetry, so take a gander at it!