Dune

Sunday, December 1st, 2013

Dune (Movie Tie-In) by Frank HerbertA long time ago, in a galaxy far, far away, I read Dune, Frank Herbert’s science-fiction classic — and it didn’t really work for me. If you haven’t read it, it could be described as Star Wars meets Game of Thrones. In fact, it was one of the major influences on Star Wars — it features a desert planet, smugglers, a quasi-religious order with limited mind-control powers, etc. — but the tone is so very, very different. And it lacks Wookiees. Like Game of Thrones, it features treacherous feudal “houses” vying for power. Sounds wonderful.  So, why didn’t it work for me? Well, any speculative fiction treads the fine line between credible and fantastic, and too many of the elements struck me as not-so-credible and weird.

A beginning is the time for taking the most delicate care that the balances are correct. This every sister of the Bene Gesserit knows.

First and foremost, the plot revolves around the most valuable planet in the Empire, the inhospitable desert planet of Arrakis, known as Dune, that is the source of the spice, melange, which is an addictive drug that extends life and — wait for it — grants its users enough prescience to see safe paths through space-time, allowing Navigators of the Spacing Guild to guide their craft between the stars.  That didn’t work for me. Then I found it too on the nose that the scarce substance needed for all transportation and commerce comes from under the ground of the desert inhabited by primitive nomads speaking Arabic.  Literally.  In that respect, Orson Scott Card finds the 1965 book eerily prescient, as the quasi-Muslim Fremen of Arrakis launch a jihad to drive out foreign powers and use their control of the spice as their strongest weapon.

Science fiction often invokes the rule of cool to mix atavistic weapons with high-tech — usually with some explanation. For instance, the Jedi knights of Star Wars can plausibly use glowing, buzzing swords because their magical Force powers allow them to use their lightsabers to parry incoming blaster bolts. In Herbert’s Dune universe, the Holtzman shield stops any fast-moving object, rendering guns ineffective and bringing blades back into fashion.

In shield fighting, one moves fast on defense, slow on attack. Attack has the sole purpose of tricking the opponent into a misstep, setting him up for the attack sinister. The shield turns the fast blow, admits the slow kindjal!

So far, so good, but then Herbert introduces lasguns, which produce a nuclear explosion if they hit a shield. Everyone uses shields, and no one uses lasguns, because of this. I don’t think that’s how things would play out. On Arrakis, shields go unused because they attract the planet’s giant sandworms, which will swallow spice-mining vehicles whole. Not a bad image, but wouldn’t anyone immediately conclude that they should use small shield generators as decoys? (And how does a skyscraper-sized “worm” travel through sand, anyway?) Further, I found it… odd that the jet-powered flying craft of the Dune universe are described as ornithopters. More central to the setting though is that it takes place long after the Butlerian Jihad, the crusade against computers, thinking machines, and conscious robots.

Thou shalt not make a machine in the likeness of a human mind.

This allows Herbert’s story to be about people, but, when I first read it, it struck me as preposterous: “You can have my Sega Genesis and my Mac SE/30 when you pry them from my cold, dead hands, Skynet!”  Now, as an adult, seeing what modern technology does to kids — and adults — I’m not so smugly technophilic.  There are tradeoffs. When Herbert wrote the book, jihad was a relatively esoteric term — but what I didn’t realize when I first read the book was that Butlerian referred to a real person, Samuel Butler, author of Erewhon, an early warning of the dangers of new technologies advancing faster than their masters:

Day by day, however, the machines are gaining ground upon us; day by day we are becoming more subservient to them; more men are daily bound down as slaves to tend them, more men are daily devoting the energies of their whole lives to the development of mechanical life. The upshot is simply a question of time, but that the time will come when the machines will hold the real supremacy over the world and its inhabitants is what no person of a truly philosophic mind can for a moment question.

I had assumed Butler was fictional — even though his wasn’t the third name in a list. One consequence of this computer-free setting is that humans have been trained to perform in a computer-like manner. These are the Mentats. Now, the closest thing we currently have to a human trained to perform in a computer-like manner is a computer programmer — ideally one who has also mastered the method of loci and mental arithmetic — but the Mentats of Dune don’t seem the least bit geeky, just very, very good at all kinds of analysis. They’re not Asperger-y; they’re supermen. They’re not without flaws, but their flaws are human flaws.

The other hyper-trained humans are the Bene Gesserit “witches” — members of a quasi-religious order loosely modeled on the Jesuits — who have mastered other, softer skills. Most famous of these skills is the voice — that is, the Jedi mind trick — followed by their skills in acute observation and truthsaying — which are extremely useful skills to master to manipulate political affairs. And that’s just what they do, operating slowly and surely on an almost geological time-scale. Over generations they steer aristocratic bloodlines toward producing the Kwisatz Haderach, and they seed primitive planets with useful superstitions. (Useful to the Bene Gesserit, that is.) That all worked for me.

The Bene Gesserit also master prana bindu, a kind of yoga or t’ai-chi, with even more martial applications. It’s one thing when 15-year-old Paul Atreides, trained by the greatest fighters of his homeworld, can beat a grown Fremen warrior in a knife-fight. It’s another when his mother, unarmed, can disarm the tribe’s greatest warrior with her weirding way of fighting and leave him feeling impotent. It seems neither plausible nor fitting that the Bene Gesserit would master hand-to-hand combat — even if an important element of mastering the enemy is mastering yourself:

I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain.

Things get far weirder than the weirding way, though. We find that the Bene Gesserit can consciously control not only their nervous and muscular systems, but they can metabolize poisons into safe compounds. Further, they can access the Other Memory — the combined racial memories of all their female ancestors.

The last hyper-trained humans are the aforementioned spice-eating Navigators of the Spacing Guild. The original novel doesn’t reveal much about their abilities.

So, now that I’ve laid out all the elements that rubbed me the wrong way, go read the book. It’s otherwise excellent. And it will teach you how to overthrow an empire and launch a new religion.

Calvin and Muad'Dib - Justice

The Hundred Best Novels

Saturday, November 30th, 2013

The Times Literary Supplement dug up this old list — from 1898 — of the hundred best novels:

  1. Don Quixote – 1604 – Miguel de Cervantes
  2. The Holy War – 1682 – John Bunyan
  3. Gil Blas – 1715 – Alain René le Sage
  4. Robinson Crusoe – 1719 – Daniel Defoe
  5. Gulliver’s Travels – 1726 – Jonathan Swift
  6. Roderick Random – 1748 – Tobias Smollett
  7. Clarissa – 1749 – Samuel Richardson
  8. Tom Jones – 1749 – Henry Fielding
  9. Candide – 1756 – Françoise de Voltaire
  10. Rasselas – 1759 – Samuel Johnson
  11. The Castle of Otranto – 1764 – Horace Walpole
  12. The Vicar of Wakefield – 1766 – Oliver Goldsmith
  13. The Old English Baron – 1777 – Clara Reeve
  14. Evelina – 1778 – Fanny Burney
  15. Vathek – 1787 – William Beckford
  16. The Mysteries of Udolpho – 1794 – Ann Radcliffe
  17. Caleb Williams – 1794 – William Godwin
  18. The Wild Irish Girl – 1806 – Lady Morgan
  19. Corinne – 1810 – Madame de Stael
  20. The Scottish Chiefs – 1810 – Jane Porter
  21. The Absentee – 1812 – Maria Edgeworth
  22. Pride and Prejudice – 1813 – Jane Austen
  23. Headlong Hall – 1816 – Thomas Love Peacock
  24. Frankenstein – 1818 – Mary Shelley
  25. Marriage – 1818 – Susan Ferrier
  26. The Ayrshire Legatees – 1820 – John Galt
  27. Valerius – 1821 – John Gibson Lockhart
  28. Wilhelm Meister – 1821 – Johann Wolfgang von Goethe
  29. Kenilworth – 1821 – Sir Walter Scott
  30. Bracebridge Hall – 1822 – Washington Irving
  31. The Epicurean – 1822 – Thomas Moore
  32. The Adventures of Hajji Baba – 1824 – James Morier (“usually reckoned his best”)
  33. The Betrothed – 1825 – Alessandro Manzoni
  34. Lichtenstein – 1826 – Wilhelm Hauff
  35. The Last of the Mohicans – 1826 – Fenimore Cooper
  36. The Collegians – 1828 – Gerald Griffin
  37. The Autobiography of Mansie Wauch – 1828 – David M. Moir
  38. Richelieu – 1829 – G. P. R. James (the “first and best” novel by the “doyen of historical novelists”)
  39. Tom Cringle’s Log – 1833 – Michael Scott
  40. Mr. Midshipman Easy – 1834 – Frederick Marryat
  41. Le Père Goriot – 1835 – Honoré de Balzac
  42. Rory O’More – 1836 – Samuel Lover (another first novel, inspired by one of the author’s own ballads)
  43. Jack Brag – 1837 – Theodore Hook
  44. Fardorougha the Miser – 1839 – William Carleton (“a grim study of avarice and Catholic family life. Critics consider it the author’s finest achievement”)
  45. Valentine Vox – 1840 – Henry Cockton (yet another first novel)
  46. Old St. Paul’s – 1841 – Harrison Ainsworth
  47. Ten Thousand a Year – 1841 – Samuel Warren (“immensely successful”)
  48. Susan Hopley – 1841 – Catherine Crowe (“the story of a resourceful servant who solves a mysterious crime”)
  49. Charles O’Malley – 1841 – Charles Lever
  50. The Last of the Barons – 1843 – Bulwer Lytton
  51. Consuelo – 1844 – George Sand
  52. Amy Herbert – 1844 – Elizabeth Sewell
  53. Adventures of Mr. Ledbury – 1844 – Elizabeth Sewell
  54. Sybil – 1845 – Lord Beaconsfield (a. k. a. Benjamin Disraeli)
  55. The Three Musketeers – 1845 – Alexandre Dumas
  56. The Wandering Jew – 1845 – Eugène Sue
  57. Emilia Wyndham – 1846 – Anne Marsh
  58. The Romance of War – 1846 – James Grant (“the narrative of the 92nd Highlanders’ contribution from the Peninsular campaign to Waterloo”)
  59. Vanity Fair – 1847 – W. M. Thackeray
  60. Jane Eyre – 1847 – Charlotte Brontë
  61. Wuthering Heights – 1847 – Emily Brontë
  62. The Vale of Cedars – 1848 – Grace Aguilar
  63. David Copperfield – 1849 – Charles Dickens
  64. The Maiden and Married Life of Mary Powell – 1850 – Anne Manning (“written in a pastiche seventeenth-century style and printed with the old-fashioned typography and page layout for which there was a vogue at the period . . .”)
  65. The Scarlet Letter – 1850 – Nathaniel Hawthorne
  66. Frank Fairleigh – 1850 – Francis Smedley (“Smedley specialised in fiction that is hearty and active, with a strong line in boisterous college escapades and adventurous esquestrian exploits”)
  67. Uncle Tom’s Cabin – 1851 – H. B. Stowe
  68. The Wide Wide World – 1851 – Susan Warner (Elizabeth Wetherell)
  69. Nathalie – 1851 – Julia Kavanagh
  70. Ruth – 1853 – Elizabeth Gaskell
  71. The Lamplighter – 1854 – Maria Susanna Cummins
  72. Dr. Antonio – 1855 – Giovanni Ruffini
  73. Westward Ho! – 1855 – Charles Kingsley
  74. Debit and Credit (Soll und Haben) – 1855 – Gustav Freytag
  75. Tom Brown’s School-Days – 1856 – Thomas Hughes
  76. Barchester Towers – 1857 – Anthony Trollope
  77. John Halifax, Gentleman – 1857 – Dinah Mulock (a. k. a. Dinah Craik; “the best-known Victorian fable of Smilesian self-improvement”)
  78. Ekkehard – 1857 – Viktor von Scheffel
  79. Elsie Venner – 1859 – O. W. Holmes
  80. The Woman in White – 1860 – Wilkie Collins
  81. The Cloister and the Hearth – 1861 – Charles Reade
  82. Ravenshoe – 1861 – Henry Kingsley (“There is much confusion in the plot to do with changelings and frustrated inheritance” in this successful novel by Charles Kingsley’s younger brother, the “black sheep” of a “highly respectable” family)
  83. Fathers and Sons – 1861 – Ivan Turgenieff
  84. Silas Marner – 1861 – George Eliot
  85. Les Misérables – 1862 – Victor Hugo
  86. Salammbô – 1862 – Gustave Flaubert
  87. Salem Chapel – 1862 – Margaret Oliphant
  88. The Channings – 1862 – Ellen Wood (a. k. a. Mrs Henry Wood)
  89. Lost and Saved – 1863 – The Hon. Mrs. Norton
  90. The Schönberg-Cotta Family – 1863 – Elizabeth Charles
  91. Uncle Silas – 1864 – Joseph Sheridan Le Fanu
  92. Barbara’s History – 1864 – Amelia B. Edwards (“Confusingly for bibliographers, she was related to Matilda Betham-Edwards and possibly to Annie Edward(e)s . . .”)
  93. Sweet Anne Page – 1868 – Mortimer Collins
  94. Crime and Punishment – 1868 – Feodor Dostoieffsky
  95. Fromont Junior – 1874 – Alphonse Daudet
  96. Marmorne – 1877 – P. G. Hamerton (“written under the pseudonym Adolphus Segrave”)
  97. Black but Comely – 1879 – G. J. Whyte-Melville
  98. The Master of Ballantrae – 1889 – R. L. Stevenson
  99. Reuben Sachs – 1889 – Amy Levy
  100. News from Nowhere – 1891 – William Morris

What stands out to many people is how few of those novels are recognizable today. What stands out to me is how many of those novels are bad genre fiction — bad, but influential.

Videogames Become a Spectator Sport

Monday, November 25th, 2013

Videogames are increasingly becoming spectator sports — which I find baffling:

On any given day, Jayson Love fires up a personal computer from his Billings, Mont., home and starts his job — playing videogames in front of an audience of thousands.

The 33-year-old hosts a Web show called “MANvsGAME,” in which he broadcasts his live gameplay on the site Twitch. Between advertising and subscribers paying $5 per month to watch his video stream, he says it is possible he’ll earn more than $100,000 next year.

It’s not that I can’t conceive of a game worth watching rather than playing, but I haven’t seen one yet. Of course, I’m one of those weirdos who’d rather play a sport than watch it, too.

Before They Pass Away

Sunday, November 24th, 2013

Photographer Jimmy Nelson has captured images of dozens of secluded cultures around the world before they pass away:

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Muppets Most Wanted

Friday, November 22nd, 2013

Muppets Most Wanted has new a new UK trailer:

The Mini-Series in 1878

Thursday, November 21st, 2013

David Foster recently re-read Thomas Hardy’s The Return of the Native, which was originally serialized in Belgravia: a Magazine of Fashion and Amusement.

At the time, even finished novels were published in parts:

The tone and style of 19th century English literature were heavily influenced by the moral strictures imposed by the then-prevailing publishing system.

A typical mid-Victorian novel stretched cost a guinea, at a time when a skilled worker could expect to make a little less than a guinea a week. (The guinea, or sovereign, was a gold coin with a metal content worth about $200 in our modern money.) Obviously, the market for such books was rather small, usually a few hundred copies, most of them purchased by private lending libraries, which sold all-you-can-read memberships for about a guinea a year. To maximize their revenues, the libraries insisted that novels be published in three volumes, so that one book could serve three customers at a time. That practice explains the wordiness and the convoluted subplots of so many Victorian books: the authors had to stretch their story to fill a specified number of pages. The very most popular authors could also serialize their novels in monthly magazines, sometimes for amazing fees.

The serialization-lending library system reduced the economic risk to publishers, who could count on a minimum number of sales. But it imposed severe artistic restraints on writes, who had to conform to a strict standard of propriety. There’s a reason why no mid-Victorian heroine so much as kisses her fiance — and it’s not that no woman ever did so, or no author ever noticed. There’s a reason why prostitution is never mentioned in print at a time when the streets of London teemed with prostitutes.

By the 1880s, however, the growth of a middle-class market with disposable incomes tempted some publishers to sell directly to the public. Magazines also began to experiment with more realistic themes. These changes made possible the career of a writer like Thomas Hardy, author in Far From the Madding Crowd of what I think is the first explicit description of female sexual arousal in English.

Two Markets for Comics

Wednesday, November 20th, 2013

There are two markets for comic books, Salkowitz says:

“There’s the market for gold-plated issues with megawatt cultural significance, which sell for hundreds of thousands and sometimes millions of dollars. But that’s a very, very, very limited market. If a Saudi sheik decides he needs Action Comics No. 1, there are only a few people out there who have a copy.” And then there’s the other market, where most comics change hands for pennies and nobody is getting rich or even breaking even. “The entire back-issues market is essentially a Ponzi scheme,” Salkowitz says. “It’s been managed and run that way for 35 years.”

Howard Schatz’s Athlete

Friday, November 15th, 2013

Howard Schatz’s Athlete could be considered an ode to human biodiversity:

A new book of photographs of 125 champion athletes. In such uniquely visionary books as Water Dance, Pool Light, Passion and Line, and Nude Body Nude, Howard Schatz has established himself as one of the great photographers of the human form.

Howard Schatz Athletes 070-000

Working primarily with dancers, Schatz has been particularly attracted to form shaped by function. Now, in Athlete, he reaches the zenith of his photographic paean to the human body, creating an astonishing record of the specialized forms both adapted to the wide spectrum of sport and shaped by fiercely focused effort.

Howard Schatz Athletes 070-001

His subjects, as varied and meticulously documented as Audubon’s birds, literally embody the astonishing array of physical perfection required for their particular sports. With a seamless blend of art and precision, Schatz shows us the awesome upper-body power of Olympic wrestling champions, discus throwers, and football players; the lissome graces of high jumpers and rhythmic gymnasts, the shock-absorbing legs of downhill skiers, the sculptural perfection of NFL wide receiver Terrell Owens and sprinter Shawn Crawford; the compact muscularity of gymnasts Tasha Schwikert and Sean Townsend; the Giacometti-like slenderness of marathoners Tegla Loroupe and American marathon champion Deena Drossin; as well as 125 other athletes at the top of their games.

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In serene portraits and intricately dissected motion photographs, Schatz gives us an unprecedented celebration of the body as divine machine, and manages at the same time to present a collective view of the human spirit at its most intense.

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Many of the athletes look surprisingly unathletic, because athleticism isn’t a single trait. Each athlete is a specialist in an esoteric physical task.

Solomon Northup

Thursday, November 14th, 2013

Steve Sailer pokes some fun at Oscar frontrunner 12 Years a Slave, which is “built upon a fourth-rate screenplay that might have embarrassed Horatio Alger” and features “depressingly bad” Victorian dialogue “reminiscent of the sub-Shakespearean lines John Wayne had to deliver as Genghis Khan in The Conqueror“:

12 Years a Slave is hailed by critics as a long-awaited breakthrough that finally dares to mention the subject of slavery after decades of the entertainment industry being controlled by the South. Yet as cinema encyclopedist Leonard Maltin notes:

12 Years a Slave is a remake. What’s more, the original television film was directed by the celebrated Gordon Parks. Why no one seems to remember this is a mystery to me, yet all too typical of what I’ll call media amnesia. It first aired on PBS in 1984 as Solomon Northup’s Odyssey, reached a wider audience the following year when it was repeated as an installment of American Playhouse, and made its video debut under the title Half Slave, Half Free.

Sailer finds the film’s opening preposterous:

12 Years a Slave opens in 1841 with Solomon Northup (stolidly played by the Anglo-Nigerian actor Chiwetel Ejiofor) being effusively admired by his white neighbors in Saratoga, New York. Northup is a model of prosperous bourgeois respectability, always doffing his top hat to his white peers while out riding with his wife and children in an elegant carriage. (Watch 0:24 to 0:35 in the trailer.)

How could he afford that?

Well, actually, he didn’t and couldn’t.

A glance at Northup’s ghostwritten 1853 memoir makes clear that in 1841, rather than being a pillar of this Yankee community, he was an unemployed fiddler dragged down by his own “shiftlessness”:

Though always in comfortable circumstances, we had not prospered. The society and associations at that world-renowned watering place (Saratoga, the home of American horseracing), were not calculated to preserve the simple habits of industry and economy to which I had been accustomed, but, on the contrary, to substitute others in their stead, tending to shiftlessness and extravagance.

In McQueen’s often baffling movie, this upper-middle-class family man suddenly decides to run off to join the circus with two fast-talking white men without even leaving a note for his wife. While dining in an elegant Washington, DC restaurant with his new friends, he suddenly takes ill (perhaps from being slipped a Mickey Finn) and wakes up in chains.

Paradoxically, Northup’s life in slavery is better documented than his murky life in freedom. His poor family never reported or even guessed that he’d been kidnapped. They apparently assumed that vanishing was just the kind of thing he’d do.

Northup’s hometown newspaper suggested that he had been an accomplice in a skin game scam gone awry:

…it is more than suspected that Sol Northup was an accomplice in the sale, calculating to slip away and share the spoils, but that the purchaser was too sharp for him, and instead of getting the cash, he got something else.

Old Spock battles New Spock

Saturday, November 9th, 2013

I don’t know how I missed Old Spock versus New Spock in the greatest car commercial ever:

The latest episode of NOVA, by the way, features the Audi smart car.

(Hat tip à mon père.)

Daft Punk Gets Lucky

Friday, November 8th, 2013

Daft PunkWSJ Magazine declares Guy-Manuel de Homem-Christo and Thomas Bangalter of Daft Punk its Entertainment Innovators of 2013:

Bangalter and de Homem-Christo had funded the record’s production, but instead of releasing it independently, they turned to Columbia Records, one of the oldest major labels in the world — and also one of the last. “Before we’d heard the record, we met with them to talk about their philosophy,” says Columbia Chairman Rob Stringer. “Their attitude was, records do still sell, if they have quality and imagination behind them. We talked about campaigns that were really based on the golden age of the record industry, in the ’70s and ’80s, when the Sunset Strip was as much about music as it was about movies.”

Random was introduced using a mix of retro showmanship and new-media cunning. Instead of announcing the record online, the band teased it with a brief, vague ad on Saturday Night Live, a clip that featured little more than their helmeted visage and a quick snippet of “Get Lucky.” That was followed by billboards in cities like New York and London; a series of YouTube interviews with the likes of Pharrell and Rodgers; and a reveal of the album’s track-listing on the video-sharing app Vine.

The buildup to the record was so steadily intriguing that, as Random’s release date came closer, its success felt like a fait accompli — which is strange, given that, for all their success, Daft Punk had never broken into the top 40 in the U.S. So when the album finally debuted at number 1, no one was surprised — in part because of its persuasive marketing, but also because, by that point, “Get Lucky” was beginning to lodge itself in the country’s collective hippocampus.

And though it never actually reached the top of the singles charts in America—denied entry by Robin Thicke’s “Blurred Lines,” also featuring Pharrell—it’s hard to think of another song this year that proved as joyfully egalitarian, or as reliably escapist, as “Get Lucky.”

Netflix Picks Up Four Marvel Live-Action Series

Thursday, November 7th, 2013

Netflix is “picking up” four live-action series featuring Marvel characters:

Led by a series focused on “Daredevil,” followed by “Jessica Jones,” “Iron Fist” and “Luke Cage,” the epic will unfold over multiple years of original programming, taking Netflix members deep into the gritty world of heroes and villains of Hell’s Kitchen, New York. Netflix has committed to a minimum of four, thirteen episodes series and a culminating Marvel’s “The Defenders” mini-series event that reimagines a dream team of self-sacrificing, heroic characters.

Wow.

The World Today

Thursday, November 7th, 2013

If you’d gone to a publisher in 1981 with a proposal for a science-fiction novel that consisted of the world today, William Gibson says, they’d have read your proposal and said, this is impossible:

This is ridiculous. This doesn’t even make any sense. Granted, you have half a dozen powerful and really excellent plot drivers for that many science-fiction n­ovels, but you can’t have them all in one novel.

Fossil fuels have been discovered to be destabilizing the planet’s climate, with possibly drastic consequences. There’s an epidemic, highly contagious, lethal sexual disease that destroys the human immune system, raging virtually uncontrolled throughout much of Africa. New York has been attacked by Islamist fundamentalists, who have destroyed the two tallest buildings in the city, and the United States in response has invaded Afghanistan and Iraq.

You haven’t even gotten to the Internet. By the time you were telling about the Internet, they’d be showing you the door. It’s just too much science fiction.

Believable Political Systems

Wednesday, November 6th, 2013

Have you considered, the Deseret News asked Orson Scott Card, Maybe it would just be easier to kind of soften my beliefs that offend people?

My beliefs don’t offend people. If you vary from the line, then they treat you as if you are the opposite of them. I am actually more liberal than any of the liberals who have attacked me.

I don’t know how I would alter my beliefs. Become more idiotic? Adopt their self-contradictory, asinine belief system that has nothing to do with the real world, that’s based on dogmas that have never been tested in the real world? I mean, it’s easier to write science fiction than to take seriously the silliness on both left and right, I have to say. Both belief systems are really not philosophies; they are really incoherent and self-contradictory. I’m not interested in that. I couldn’t make them work as fiction. I couldn’t invent those as political systems that would be believable in a science fiction universe. Only because they really exist are they believable, because if 30 years ago I had written a story in which either the far left or the far right philosophies were, the audiences would go, “Nobody would ever believe that. That’s just too silly. They couldn’t hold those two ideas simultaneously.” Oh yes they can, because they don’t think and they don’t analyze. So, no, it isn’t even remotely tempting.

The thing is, in my fiction, I don’t even put my beliefs in there. That’s the thing that’s frustrating.

For example, in “Empire,” which was attacked savagely as being a right-wing screed — absolutely not true. If anything, it’s right down the middle of the road. It shows idiots on both left and right. The only thing is that I actually show positive characters who hold conservative views. Well, I was writing about people in today’s American military. … The overwhelming majority of the military share values more like President Bush’s than President Obama’s.

So if I’m going to write those characters, I’m not going to do what left-wing writers do, which is please their friends by having all of their characters be liberal no matter what — all their positive characters — and only boneheads and idiots can be conservatives in their fiction. I’m going to write a good character who believes as my friends in the military tend to believe.

Just writing honestly makes them attack me because they can’t bear a favorable depiction of someone they disagree with. It’s intolerable to them. They are arch-fanatical puritans. They can’t bear the thought that someone somewhere who is intelligent might not hold the same idea as them. It’s the essence of intolerance, and that’s the way they are.

“Empire” is actually about tolerance and has been attacked by the intolerant for being so right-wing, which it absolutely is not.

It would be funny if it weren’t so frustrating.

The reviews that were written painted it in the eyes of people who hadn’t read it — and this was the goal — as being just a far-right screed. And therefore there’s no reason to pay any attention to it. So I’m actually talking to everybody. It’s not a far-right screed. It’s about trying to restore civil dialogue in America and to stop the violent rhetoric that leads us — frankly, the violence of the rhetoric today is very similar to the way it was before the Civil War. I think those are the only two times when it’s ever been as extreme and as intolerant and hate-filled. And the worst thing is, the people who accuse others as polarizing the most are the polarizers themselves. The far left is the source of 99 percent of the polarization today while they accuse the right of being polarizers merely for disagreeing with them or having another thought. Which is very frustrating in itself.

When you write a book that, if anything, is about tolerance, but it’s received with such intolerance, then you begin to despair of whether it’s possible to talk to these people in this time. But I still find readers, and those readers do understand what I’m doing. Maybe it will make a little difference, maybe a little change.

Past the Computer Age

Wednesday, November 6th, 2013

We’re past the computer age, William Gibson suggests:

You can be living in a third-world village with no sewage, but if you’ve got the right apps then you can actually have some kind of participation in a world that otherwise looks like a distant Star Trek future where people have plenty of everything. And from the point of view of the guy in the village, information is getting beamed in from a world where people don’t have to earn a living. They certainly don’t have to do the stuff he has to do everyday to make sure he’s got enough food to be alive in three days.

On that side of things, Americans might be forgiven for thinking the pace of change has slowed, in part because the United States government hasn’t been able to do heroic nonmilitary infrastructure for quite a while. Before and after World War II there was a huge amount of infrastructure building in the United States that gave us the spiritual shape of the American century. Rural electrification, the highway system, the freeways of Los Angeles—those were some of the biggest things anybody had ever built in the world at the time, but the United States really has fallen far behind with that.