The original radio version of The Hitchhiker's Guide to the Galaxy immediately establishes itself as a parody. Arthur Dent, an Earthman who's house is being demolished to make way for a new road, finds out his whole planet is going to be demolished to make way for a hyperspace bypass. So, Arthur Dent and his friend hitch a ride across the Galaxy aboard the Vogon ship.
This simple concept in itself makes way for discussion about land appropriation. Should the government even have permission to demolish someone's property? This author challenges this idea by immediately placing it into the perspective of earth being demolished. We would not like it if some alien government said they were going to demolish earth for a better hyperspace bypass, so why would we give ourselves permission to appropriate other people's turf? These rhetorical questions serve to rethink our cultural assumption.
Another absurd concept is the fact that there's a depressed robot named Marvin. The writer makes us think about where we want to take the development of our technology. Do we need them to be so human they feel pain as well? When our robots gain emotion, would we end up treating them like humans?
Tuesday, April 25, 2017
Week 13: Margaret Atwood's Literary Speculation
Literary Speculation is the one genre that completely aligns with my way of thinking. Reading speculative literature is giving me permission to think on a deeper level about the story I'm reading. Although I do this with every story, and I often learn much from it, some works are meant for this literary thought processes.
I've read Margaret Atwood before, but I read some of her Oryx and Crake for this entry. The main character, Snowman is in a dystopian version of the USA. When he wakes up, he doesn't remember that "nobody nowhere knows what time it is." Since Snowman is experiencing holes in his memory, it's easy to say other people are experiencing the same, and it's no coincidence that he doesn't remember a quote he recited, but "has the feeling he’s quoting from a book, some obsolete, ponderous directive written in aid of European colonials running plantations of one kind or another." The writer goes on to note that Snowman "can’t recall ever having read such a thing, but that means nothing". Someone is wiping memories, keeping secrets from the past, and controlling human intelligence, but for what reasons?
Snowman is from the time no one remembers, yet the children he interacts with have no idea what the remnants of the old world are, yet they discover it like treasure. Atwood describes him just as a homeless person would be in today's world. He stinks, he's grumpy, and he pees on one side of a tree, eats on the other, and sleeps in the branches.
Atwood is using elements of science fiction tropes (with a dystopian land, and people not having any contextual history to recall) to make literary statements about the amount of control the government has on us. As Atwood likes to, her literary lessons can be traced back to commentary about the present world. For example, the way the kids treat the homeless Snowman is extremely different than how kids would treat the homeless in today's society. Homeless people are often victims of abuse and bullying because no one cares about them, however, in Margaret Atwood's story, the kids talk to him every week. She obviously wants us to think a little differently about the way we treat our folks without shelter.
I've read Margaret Atwood before, but I read some of her Oryx and Crake for this entry. The main character, Snowman is in a dystopian version of the USA. When he wakes up, he doesn't remember that "nobody nowhere knows what time it is." Since Snowman is experiencing holes in his memory, it's easy to say other people are experiencing the same, and it's no coincidence that he doesn't remember a quote he recited, but "has the feeling he’s quoting from a book, some obsolete, ponderous directive written in aid of European colonials running plantations of one kind or another." The writer goes on to note that Snowman "can’t recall ever having read such a thing, but that means nothing". Someone is wiping memories, keeping secrets from the past, and controlling human intelligence, but for what reasons?
Snowman is from the time no one remembers, yet the children he interacts with have no idea what the remnants of the old world are, yet they discover it like treasure. Atwood describes him just as a homeless person would be in today's world. He stinks, he's grumpy, and he pees on one side of a tree, eats on the other, and sleeps in the branches.
Atwood is using elements of science fiction tropes (with a dystopian land, and people not having any contextual history to recall) to make literary statements about the amount of control the government has on us. As Atwood likes to, her literary lessons can be traced back to commentary about the present world. For example, the way the kids treat the homeless Snowman is extremely different than how kids would treat the homeless in today's society. Homeless people are often victims of abuse and bullying because no one cares about them, however, in Margaret Atwood's story, the kids talk to him every week. She obviously wants us to think a little differently about the way we treat our folks without shelter.
Week 12: Diverse Positions and Diverse Thinking!
I Live with You illustrates an interesting concept about 'becoming a whole new you'. The story is told through a secondary character who looks exactly like the main character, becomes her. Although the reader can interpret this story in multiple ways, after sleeping on it, I began to think about it in the context of split personalities in society.
What if the secondary character and the main character were one person all along; a part of one woman's personality? To set up the story, the narrator describes her target as " Just my size. Just my look". The narrator also repeatedly emphasizes that no one will notice when she takes over the main character's life, and the way the narrator's plan plays out is impossible to be interpreted as a literal story. However, the narrator repeatedly states "I saw that nobody noticed you". The only way no one would notice her shift in clothing style, even while at work, is impossible, so I interpreted this narrator's repetition as nobody noticing the main character struggling with multiple personalities.
During their first contact, the narrator, "right away [found] a nice place in your attic." The only way a person could live in another person's attic, bumping and groaning in the night and "[buying] new clothes and [taking] away the old ones," without getting caught is if this person existed in her mind, and she was at least a little aware of it, however, her bolting the bedroom door shut hints that when she's her more outgoing self, her introverted self doesn't remember what happened. After all, if I noticed my quarters in my button box and my wardrobe wasn't the same, I'd call the cops immediately because I know I'm not living with multiple or split personalities. Instead, she bolts the bedroom door shut because she doesn't remember what her outgoing self has done, and thinks there might have actually been a minor intrusion that's making her paranoid.
While the depiction of split personalities in the book vs reality might be different, creatively interpreting this text made me a little bit more consciously aware of other people's experiences navigating life.
Questions from Blood Child
What if the secondary character and the main character were one person all along; a part of one woman's personality? To set up the story, the narrator describes her target as " Just my size. Just my look". The narrator also repeatedly emphasizes that no one will notice when she takes over the main character's life, and the way the narrator's plan plays out is impossible to be interpreted as a literal story. However, the narrator repeatedly states "I saw that nobody noticed you". The only way no one would notice her shift in clothing style, even while at work, is impossible, so I interpreted this narrator's repetition as nobody noticing the main character struggling with multiple personalities.
During their first contact, the narrator, "right away [found] a nice place in your attic." The only way a person could live in another person's attic, bumping and groaning in the night and "[buying] new clothes and [taking] away the old ones," without getting caught is if this person existed in her mind, and she was at least a little aware of it, however, her bolting the bedroom door shut hints that when she's her more outgoing self, her introverted self doesn't remember what happened. After all, if I noticed my quarters in my button box and my wardrobe wasn't the same, I'd call the cops immediately because I know I'm not living with multiple or split personalities. Instead, she bolts the bedroom door shut because she doesn't remember what her outgoing self has done, and thinks there might have actually been a minor intrusion that's making her paranoid.
While the depiction of split personalities in the book vs reality might be different, creatively interpreting this text made me a little bit more consciously aware of other people's experiences navigating life.
Questions from Blood Child
what’s your reaction to the text you just read?
The feeling of disgust quickly ramped up as I arrived at the climax of the story. There’s a sense of reflective perversion when Octavia injects social commentary within the motifs of the text (some of which I identify as slavery and gender role issues). It’s almost as if Octavia knows that what she’s reflecting in her story is a necessary evil — it’s clear personal experiences while being a woman of color has driven her to write this moving piece.
What connections did you make with the story that you read?
Octavia discusses many different shades of gender roles in everyday life. In general, Bloodchild reverses gender roles. In Octavia’s world, it’s the men who give birth and women (aliens) who impregnate male (humans). This simple, yet ironic switch of gender roles opened up massive opportunity for the author to interject her point of view on gender issues. She starts with impregnation and giving birth. In our world, bearing a child is both painful and dangerous, but men often don’t see it that way. For example, when Lomas came to the house in unimaginable pain and ready to give birth, T’Gatoi had no emotional attachment. In fact, those babies being birthed were not even her own, so it seemed she cared even less.
10 Years From Now In-Class Exercise
10 years from now:
In 2027, I’ll be 41. New social media. Our phones are implanted into our glasses and contact lenses — not everyone will have it, only upper middle class and above. In another ten years, Google plans on universalizing phone implantations so everyone can afford it. Miami is getting underwater. Gun laws, robotics. I will have a plump savings. Research or Brand Strategist at a moderately sized ad or design agency. I’ve worked my way up for at least 4 years. My family’s probably working on relocating their home, if they haven’t already. By 2050, our home will be underwater because Florida's sinking! I’m living in a poly relationship.
In 2050, South and Middle Florida’s underwater. My high school would be underwater. I’d be somewhere near the coast managing a studio I’ve invested in since 2030. I will have made a dent in the LGBTQ community, pushing our economic presence. I’ll be making public speeches at LGBTQ marketing events in support of supportive and immersive brands or companies that are run by or benefit the LGBTQ community.
In year 2100, I’m like 120. The 19th century is over and everyone’s armed with either lasers or bullets. I have old children and great-great grandchildren, but I’m probably in a nursing home by the coast. I’d have alzeihmer’s. It runs in the family.
Week 11: Cyberpunk's Mixed-Genre Purpose
Cyberpunk seems to serve as a genre to push your mind to think about the future and its implications -- it's a discussion on where our humanity is now and how that might look in the future. On a technical level, it is a mixed genre of reverse-science fiction, urban fantasy, and thriller.
William Gibson's Johnny Mneumonic serves to stretch the reader's mind about gender and sexuality.
Gender
First, the main character sees himself as a "technical boy" who enjoys doing seemingly feminine things like "checking [himself] out in the chrome siding of a coffee kiosk". Then, the main character introduces us to The Magnetic Dog Sisters, one which "had originally been male." These almost-subtle interjections of forward-thinking ideas will get the reader thinking about blurred lines of gender, among other sex vs. gender issues we're experiencing today. Lastly, we meet the strong female character. In the first few lines she says to the narrator, her purpose in the story becomes obvious: "'My kind of man,' she said, and laughed. 'What's in the bag?'" Her charming confidence in her laugh, and her straight-forward words towards Johnny makes her the alpha of the room immediately.
Sexuality
While The Magnetic Dog Sisters might only be a name, they are also lovers. They are sisters in fighting, but lovers in bed. The narrator also describes them as "nearly identical as cosmetic surgery could make them." The writer might be calling out our innate need to love and root for ourselves.
This mixed genre is most relevant when discussing the weapons in Johnny Mneumonic.
Reverse SciFi, Urban Fantasy, Thriller
I would describe a portion of this story as reverse-SciFi because of its introduction -- in order to create and use traditionally functioning, 'antique' weapons, the main character explains "your [skill] has to be pretty technical before you can even aspire to crudeness." Secondly, when the main character comes out of the tube, he's immediately thrust into a fantasy-level bar experience. He finds the man who he's looking for in his short storied journey fueled by payback, Ralfi Face. Finally, the reader sits in a life-or-death tension for the majority of the story, where Johnny (the main character) has an antique gun pointed at Ralfi, and when the strong alpha female arrives, the tension builds even more: "her hand came up and seemed to brush his wrist as it passed. Bright blood sprayed the table." She made him bleed with nothing in her hand.
William Gibson's Johnny Mneumonic serves to stretch the reader's mind about gender and sexuality.
Gender
First, the main character sees himself as a "technical boy" who enjoys doing seemingly feminine things like "checking [himself] out in the chrome siding of a coffee kiosk". Then, the main character introduces us to The Magnetic Dog Sisters, one which "had originally been male." These almost-subtle interjections of forward-thinking ideas will get the reader thinking about blurred lines of gender, among other sex vs. gender issues we're experiencing today. Lastly, we meet the strong female character. In the first few lines she says to the narrator, her purpose in the story becomes obvious: "'My kind of man,' she said, and laughed. 'What's in the bag?'" Her charming confidence in her laugh, and her straight-forward words towards Johnny makes her the alpha of the room immediately.
Sexuality
While The Magnetic Dog Sisters might only be a name, they are also lovers. They are sisters in fighting, but lovers in bed. The narrator also describes them as "nearly identical as cosmetic surgery could make them." The writer might be calling out our innate need to love and root for ourselves.
This mixed genre is most relevant when discussing the weapons in Johnny Mneumonic.
Reverse SciFi, Urban Fantasy, Thriller
I would describe a portion of this story as reverse-SciFi because of its introduction -- in order to create and use traditionally functioning, 'antique' weapons, the main character explains "your [skill] has to be pretty technical before you can even aspire to crudeness." Secondly, when the main character comes out of the tube, he's immediately thrust into a fantasy-level bar experience. He finds the man who he's looking for in his short storied journey fueled by payback, Ralfi Face. Finally, the reader sits in a life-or-death tension for the majority of the story, where Johnny (the main character) has an antique gun pointed at Ralfi, and when the strong alpha female arrives, the tension builds even more: "her hand came up and seemed to brush his wrist as it passed. Bright blood sprayed the table." She made him bleed with nothing in her hand.
Week 9: Religion and Science in a Space Opera Compilation
Space opera is a mix of many different 19th century genres into one. While Arthur C Clarke's The Nine Billion Names of God took me into a compilation of urban fantasy and technical science fiction, while sticking to the space opera genre of expansive possibilities.
The urban scene is set by Dr. Wagner, a modern-day scholar and the first character the reader meets. He's the owner of the modern computer that will help the monastery, and they're negotiating the use of the machine in Manhattan. While the author could have used any religion, he chose to keep it to one of our modern religions that exists today -- Tibetan Buddhism.
The science fiction part of Clarke's short story starts with a detailed paragraph of how a machine would help a Tibetan monastery. The lama of the monastery begins the story with, "'Your Mark V Computer can carry out any routine mathematical operation involving up to ten digits...we use a special alphabet of our own. Modifying the electromatic typewriters to deal with this is, of course.'"
Lastly and most importantly, Clarke sticks to space opera-esc expansive possibilities by combining machinery with one of the most ancient religions in the world. Clarke depicts the worlds of science and religion as separate ways of life attempting to come together in this seven page short story. On page one, the lama from the monastery says, "'It is somewhat alien to your way of thought (Dr. Wagner's scholarly thinking), so I hope you will listen with an open mind while I explain it.'" By page three, science and religion are working together: "As the sheets had emerged from the electromatic typewriters, the monks had carefully cut them up and pasted them into enormous books."
The urban scene is set by Dr. Wagner, a modern-day scholar and the first character the reader meets. He's the owner of the modern computer that will help the monastery, and they're negotiating the use of the machine in Manhattan. While the author could have used any religion, he chose to keep it to one of our modern religions that exists today -- Tibetan Buddhism.
The science fiction part of Clarke's short story starts with a detailed paragraph of how a machine would help a Tibetan monastery. The lama of the monastery begins the story with, "'Your Mark V Computer can carry out any routine mathematical operation involving up to ten digits...we use a special alphabet of our own. Modifying the electromatic typewriters to deal with this is, of course.'"
Lastly and most importantly, Clarke sticks to space opera-esc expansive possibilities by combining machinery with one of the most ancient religions in the world. Clarke depicts the worlds of science and religion as separate ways of life attempting to come together in this seven page short story. On page one, the lama from the monastery says, "'It is somewhat alien to your way of thought (Dr. Wagner's scholarly thinking), so I hope you will listen with an open mind while I explain it.'" By page three, science and religion are working together: "As the sheets had emerged from the electromatic typewriters, the monks had carefully cut them up and pasted them into enormous books."
Week 8: Brandon Sanderson's Urban Fantasy World
Sanderson's setting is obviously fantastical, but the characters think in modern ways. The setting is described as the "land of Returned Gods, Lifeless servants, and BioChromatic research". In contrast, the characters call what would usually be called an innkeep, a bartender. Sanderson adds fantastical magic, using the realistic experience of auras to describe the kind of magic his world harnesses. The aura he describes is seen as color to the human eye. When Vasher Breathed, "the color of oil on water in the sun" flowed from his mouth. This is a visual representation of the aura's flow in this world. These auras also change from moods, time and setting.
One of the characters, Vasher, created life magically using BioChromatic technology. This combination of technology and mysticism is unique to the Urban Fantasy genre, where these stories could possibly take place during this time, in a different location. Vasher Breathed using BioChromatics and "the straw person ran along the floor, then jumped up, vaulting between the bars."
Week 6: A Little Girl's Heroic Journey
A Song of Ice and Fire is a Celtic knot of heroic and not-so-heroic journies. The badass of all is Arya Stark.
In the first novel, Arya starts off as an innocent child. She's quickly thrown into heartbreak and confusion when her brother is thrown from one of the tower windows. I'd declare her call to adventure as the moment she watches her father die. She makes a decision to take revenge on those who want to hurt her family.
Crossing the first threshold and jumping into the belly of the beast happens almost at the same time. When Arya is captured by the Lannisters and escapes, she realizes she has no choice but to cut her hair off, act like a boy, and survive in Flea Bottom of King's Landing. Her survival in this moment is her christening into the rest of her heroic journey.
In the second book, Arya finally escapes King's Landing and the real-world elements brings her down a literal road of trials. She comes across a burning town, and meets her companions who will lead her on this series of trials to maturity. Then, she's captured by one of the Lannister's monsters, Ser Gregor Clegane. On this hard journey to uncertain safety, she creates a mantra of all those she plans to kill. It's obvious she's becoming more than just a child very fast. Finally, she gets to Harrenhal, but her hero's journey has yet to reach its climax. She faces her crucifixion when she has a spiritual awakening in Braavos (in the third novel, A Feast for Crows). As yet, she has not reached the end of her heroic journey, but hopefully, George RR Martin will share her journey through the end before he dies.
In the first novel, Arya starts off as an innocent child. She's quickly thrown into heartbreak and confusion when her brother is thrown from one of the tower windows. I'd declare her call to adventure as the moment she watches her father die. She makes a decision to take revenge on those who want to hurt her family.
Crossing the first threshold and jumping into the belly of the beast happens almost at the same time. When Arya is captured by the Lannisters and escapes, she realizes she has no choice but to cut her hair off, act like a boy, and survive in Flea Bottom of King's Landing. Her survival in this moment is her christening into the rest of her heroic journey.
In the second book, Arya finally escapes King's Landing and the real-world elements brings her down a literal road of trials. She comes across a burning town, and meets her companions who will lead her on this series of trials to maturity. Then, she's captured by one of the Lannister's monsters, Ser Gregor Clegane. On this hard journey to uncertain safety, she creates a mantra of all those she plans to kill. It's obvious she's becoming more than just a child very fast. Finally, she gets to Harrenhal, but her hero's journey has yet to reach its climax. She faces her crucifixion when she has a spiritual awakening in Braavos (in the third novel, A Feast for Crows). As yet, she has not reached the end of her heroic journey, but hopefully, George RR Martin will share her journey through the end before he dies.
Week Five: Lessons on Good and Evil with Witches
The witches in Red as Blood are completely stereotypical, but for good reason; the writer is teaching the reader multiple lessons about good and evil, using fairytale-like stereotypes.
Bianca was quickly established as an evil witch from the way she spread her plague: "The wasting sickness suddenly began again, and there was no cure." She was dangerous to everyone around her. Descriptions of Bianca were stereotypical throughout; skin white as snow, mouth red as blood, and skin smoking as fire does.
In contrast, the Witch Queen's innocent offerings were seen as hurtful to young Bianca. The Witch Queen stereotypically offered a "crucifix of golden filigree", yet Bianca would not even touch it. During these interactions, the stereotype that good is in touch with God and evil is in touch with Lucifer shines through. The Witch Queen would often refer to her holy bible, "bound in rosy silk".
This writer depicts women as strong and cunning. It's even emphasized by contrasting with the male intelligence (or lack of) depicted. For example, while the Witch Queen was offering young Bianca holy and christened items, the father was clueless in why Bianca would never touch holy items. It was right in front of his face, and he never realized how in-touch with evil she was. Bianca even lied multiple times to manipulate her father into thinking her reasoning was for something other than her connection with darkness, "I do not like to think of Our Lord dying in agony on His cross. She means to frighten me. Tell her to take it away."
Bianca was quickly established as an evil witch from the way she spread her plague: "The wasting sickness suddenly began again, and there was no cure." She was dangerous to everyone around her. Descriptions of Bianca were stereotypical throughout; skin white as snow, mouth red as blood, and skin smoking as fire does.
In contrast, the Witch Queen's innocent offerings were seen as hurtful to young Bianca. The Witch Queen stereotypically offered a "crucifix of golden filigree", yet Bianca would not even touch it. During these interactions, the stereotype that good is in touch with God and evil is in touch with Lucifer shines through. The Witch Queen would often refer to her holy bible, "bound in rosy silk".
This writer depicts women as strong and cunning. It's even emphasized by contrasting with the male intelligence (or lack of) depicted. For example, while the Witch Queen was offering young Bianca holy and christened items, the father was clueless in why Bianca would never touch holy items. It was right in front of his face, and he never realized how in-touch with evil she was. Bianca even lied multiple times to manipulate her father into thinking her reasoning was for something other than her connection with darkness, "I do not like to think of Our Lord dying in agony on His cross. She means to frighten me. Tell her to take it away."
Monday, April 24, 2017
Week Three J-horror
The three recurring themes in the Japanese and Asian horror genre are vengeful spirits, protagonist's personal or environmental existential crisis, and a sense of emptiness of contemporary life. In Of a Mirror and a Bell, the most stunning theme incorporated into this genre was the vengeful spirit.
The language this text was simple and similar to the translated texts I read as a practicing Buddhist. The story is folktale-like, where the writer makes connections to Japanese myth and ancient stories. A spirit in J-horror can tangibly affect its environment, and vice versa as well.
This text demonstrates vengeful and tangible spirits in a multitude of ways. The inciting incident was when the to-be spirit who gave her heirloom mirror to build the temple's bell, began to regret her offering so much so that she "longed for some chance to steal the mirror, and hide it." This paragraph foreshadows the anger and regret that drives her spirit to trap itself inside the mirror. The writer emphasizes that because of this, her "selfish soul [remained] attached to the mirror, [keeping] it hard and cold in the midst of the bell's furnace. The most obvious injection of this theme is when the woman leaves her suicide note promising wealth to someone who breaks her spirit's connection with the heirloom. This 'spell' affected those who participated in breaking the bell as well as similar objects that people broke for wealth. An example of how spirits interact with their environment is when a woman beat on a representation of the bell until it broke. When it shattered, a man came up to them and asked what the racket was. When he found out why he gave them 300 ryo in gold.
The language this text was simple and similar to the translated texts I read as a practicing Buddhist. The story is folktale-like, where the writer makes connections to Japanese myth and ancient stories. A spirit in J-horror can tangibly affect its environment, and vice versa as well.
This text demonstrates vengeful and tangible spirits in a multitude of ways. The inciting incident was when the to-be spirit who gave her heirloom mirror to build the temple's bell, began to regret her offering so much so that she "longed for some chance to steal the mirror, and hide it." This paragraph foreshadows the anger and regret that drives her spirit to trap itself inside the mirror. The writer emphasizes that because of this, her "selfish soul [remained] attached to the mirror, [keeping] it hard and cold in the midst of the bell's furnace. The most obvious injection of this theme is when the woman leaves her suicide note promising wealth to someone who breaks her spirit's connection with the heirloom. This 'spell' affected those who participated in breaking the bell as well as similar objects that people broke for wealth. An example of how spirits interact with their environment is when a woman beat on a representation of the bell until it broke. When it shattered, a man came up to them and asked what the racket was. When he found out why he gave them 300 ryo in gold.
Sunday, April 16, 2017
Week Ten's Sci-Fi Cuisine from 1962
Last weekend, an expedition was in order. My journey, left unplanned, brought me to Brant’s Bookstore. There, I came across stacks of old, brown magazines. They were issues of Galaxy Magazine, an anthropology that developed the science-fiction genre and several sub-genres, into what they are today. Amongst the stack, I picked up Galaxy Magazine 1962, and in it, I found Gourmet by Allen Kim Lang.
This short story is set in a space cruiser traveling to Mars which would take 6 months to get to. Before we meet our protagonist, Allen Kim Lang introduces us to nouns that sound similar to today’s linguistic’s, but are different enough to let the viewer know that this timeline's language has some kind of alien linguistics injected into it. With words like 'fo’c’s’le', ‘Lobscousers', and 'Saccharomycodes’ it’s obvious we’ve learned to coexist with alien life. Then, the writer goes on to describe the concept of an impending space-war, but Kim Lang doesn’t specify who or what we’re going to war with. Apparently, this war is why they’re headed to Mars, and it’s why the Captain of this cruiser is a militaristic hard-ass. After establishing concepts pertinent to the setting, we meet chef Robert Bailey, who’s challenged by the Captain to create masterful dishes using Chlorella algae, which they picked from ‘cis-Martian space’. The idea of algae on humanoid-alien worlds reflects the sci-fi idea that aliens are more similar to us humans than we might believe. Additionally, the algae aren't just used for food; it’s chemically manipulated into oxygen and water as well. It’s clear the writer believes we can use plant matter to survive usually inhabitable areas.
Sci-fi in the 20th century has clearly played a role in the development of our world today. Although he most likely wasn’t the first to write about it, Allen Kim Lang’s idea about using plants to survive parallels with today's belief that we don’t have to use plants as just food. We use plants to develop renewable energy, various utilitarian tools, and stem cell research. However, with our willingness to manipulate plant life, we’ve created businesses like Monsanto. In an effort to make our food as genetically perfect as possible, these types of businesses have poisoned the human race with harsh pesticides and antibiotics that make us sick.
Saturday, February 25, 2017
New Weird Goes to the Freaks and Demons
Cirque du Freak was my favorite novel series as an adolescent because I fit right in. The first novel starts with an ordinary boy named Darren and his ordinary friend Steve getting free tickets to the Cirque du Freak. This novel quickly turns freaky when a gothic vampire and a spider force them to change their lives forever.
As the series develops, Cirque du Freak reveals more of its performers. There's a snake boy, wolfmen, 'little people', Vampires and Vampaneze, of course a bearded lady, and a mysterious (probably not human) man named Mr. Tall. In this series of circus performers, my transgender identity made me feel like I would fit right in.
The first strange occurrence in this New Weird novel series is when Mr. Crepsley, the vampire with the spider counterpart controlled her every will with a flute. Some more weird occurrences were when the mysterious Mr. Tall destroyed a character's body and transferred their memories to a new, vacant body. Perhaps weirdest of all, Mr. Crepsley, a powerful vampire, died of dramatic natural causes made worse by hypothermia. These unusual happenings bend the reader's perception of the world they're experiencing. These weird events are the only elements that keep the audience from thinking everything's happening on this timeline.
As the series develops, Cirque du Freak reveals more of its performers. There's a snake boy, wolfmen, 'little people', Vampires and Vampaneze, of course a bearded lady, and a mysterious (probably not human) man named Mr. Tall. In this series of circus performers, my transgender identity made me feel like I would fit right in.
The first strange occurrence in this New Weird novel series is when Mr. Crepsley, the vampire with the spider counterpart controlled her every will with a flute. Some more weird occurrences were when the mysterious Mr. Tall destroyed a character's body and transferred their memories to a new, vacant body. Perhaps weirdest of all, Mr. Crepsley, a powerful vampire, died of dramatic natural causes made worse by hypothermia. These unusual happenings bend the reader's perception of the world they're experiencing. These weird events are the only elements that keep the audience from thinking everything's happening on this timeline.
Week 1: Gothic Elements As Told by George RR Martin
George RR Martin's short story The Sandkings is one of the creepiest science fiction-gothic-thriller pieces I've read in a while. Martin tells a story about a rich man named Simon Kress, who's obsession with exotic pets and ruthless violence leads him to his own demise.
Kress lives in a high-tech house in the middle of nowhere. It's his own castle of sorts. The tension builds when an exotic pet store owner sells Kress extremely dangerous and hilariously tiny Sandkings. The store owner warned Kress that their ability to go to war with each other when inhabiting the same space could be dangerous, but Kress never heed the omen.
Through Kress's abusive and neglectful treatment of the Sandkings, they started to hate him. Kress was angry the Sandkings didn't want to battle for territory in their sand-filled aquarium, but these pets were pushed to a point of no return. As they got larger, starved and were forced to kill each other, their hate for their owner grew, until they literally took over his house. RR Martin bumped up the creep factor when the insects' sentient queen absorbed herself into the basement walls and became the house, dead-set on killing Simon Kress.
Another nuance of gothic writing includes the treatment of women. Kress, being the tyrannical main character he is, threatened the female pet store owner of killing her business if the Sandkings didn't entertain his party guests adequately. Lastly, the main character goes through acutely intense emotions throughout the course of this story. His affinity for anger foten jumps to impatient distraughtness, but then climaxes when he rekindles anger for his ex girlfriend. Driven by romantic vengeance, he ends up screwing his good karma for the rest of his short life (no spoilers).
Vampires Through the World of Richelle Mead
When we think of vampires, we think of Richelle Mead's villainous type, the Strigoi, however in her world, not all vampires are evil. This is a truth that rings throughout the entire series. However, this kind of evil vampire often chooses to be turned. Like being an asshole in real life, Moroi (Mead's humanistic type of vampire) make the decision to become Strigoi because of the payoff. For power and immortality, Moroi willingly lose their ability to feel sadness, fear, guilt, love; they sacrifice their humanity.
Many power-hungry people hide their emotions for just this reason. When just trying to maintain their place of power, a less humanistic person will often find an opportunity to step over others to get what they want. However, Mead emphasizes that not all vampires lack humanistic values. The long and weathered relationship between the Moroi (good vampires) and Strigoi communicates that not all folks in places of power are without morals or greedy.
Many power-hungry people hide their emotions for just this reason. When just trying to maintain their place of power, a less humanistic person will often find an opportunity to step over others to get what they want. However, Mead emphasizes that not all vampires lack humanistic values. The long and weathered relationship between the Moroi (good vampires) and Strigoi communicates that not all folks in places of power are without morals or greedy.
The Novel of Spiritual Education
Moral and Spiritual Lessons
Fantasy is written by escapists for escapists and George RR Martin is no exception. Living in RR Martin's world is equal parts enlightening and frightening. When I find myself putting the book down, I'm weary from the war-ridden miles I've traveled.
While this writer focuses on the sensory part of fantasy, each character subtly teaches the reader about moral complexities they'll experience. Depending on which characters resonate with the reader, RR Martin will weather the reader through many moral and spiritual lessons.
When I read Arya Stark, I'm in her skin.
In A Game of Thrones, Arya and the Stark family introduced the reader to the complexities of family relationships (and as the series goes on, builds upon this lesson). In the first 100 pages, Arya's father is killed and within the next 100, her family gets ripped apart. Although the Stark family is separated, Martin emphasizes that distance can't thin blood connections. Before separating, the Stark children find a liter of abandoned wirewolves perfect for each character. Through these pups, Arya often feels that her family is still alive, even though she's thousands of miles away from them, and when one of them dies, she knows it.
Through Arya's water dance training, her coach (or rather, George RR Martin) set her up for a spiritual awakening later in the series. She gets involved in a religion that honestly reflects traditional Christian beliefs, but Martin adds his moral lesson through the humanly immoral way Arya's new religion views death, and how quickly Arya becomes desensitized to it. It's almost as if she gets brainwashed into killing. To me, Martin points out how religion and spirituality can easily turn to extreme measures, much like the Nazi regime. After reading a few more of George RR Martin's works, it's obvious he has opinions about religion and Christianity worth talking about. After all, he grew up as a churchboy, so he'd know better than anyone.
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