By Steven McLain
The Hunger Games. Twilight. Harry Potter. The Avengers. Batman, Superman, Spiderman. Lord of the Rings. What do all these things have in common? Other than the fact that they are all highly successful films, what's more relevant is that they're highly successful adaptations of works of written fiction. Fourteen of the top fifty movies of all time have been based on pieces of fiction. These film adaptations owe their success to the success of books. Their fanbases are easily transferable, and better still, fans are willing to shell out billions of dollars on merchandise based on the movies.
Bella and Katniss are brands all their own. Team Jacob, or Team Peeta? We invest ourselves in the fiction, and the fiction rewards us with an alternate reality in which we can immerse ourselves. That the immersion doesn't end when the movie does means that producers of these highly successful movies often find themselves the beneficiaries of the success of authors who probably never even dreamed of this level of success.
But there is a weak link in this chain of money-making. That's the books themselves. Waiting for the next YA success means that movie studios have to idly bide their time waiting for the next Suzanne Collins or J.K. Rowling to put the final touches on their masterpieces and sell them to a New York publisher. While they're waiting, movie producers are losing money on movies that are less than sure things. The solution seems obvious to me. Movie houses need to become publishers.
And the books themselves don't need to be successes. In fact, most of the proposed replacements for Twilight are going to fail. While this is devastating in the publishing industry, where profit is negligible and risk high, considering the tens of millions, perhaps hundreds of millions, involved in the creation of modern blockbusters, a few tens of thousand or hundreds of thousands necessary to create the next fiction sensation are literally drops in the bucket. Especially if a few of the bigger houses (Warner Bros., Fox, Paramount) were to join forces with the big five in New York to gain access to their distribution networks and print infrastructure, risk is exponentially reduced.
So there you go: The Next Big Thing. To be successful, movie producers need to create their niches; they need to invest to create a fanbase into which they can insert their next blockbuster. Meanwhile, it's good business sense in New York, as well. An infusion of fresh capital and new blood could re-invigorate a flagging industry. So take a look around your local bookstore. The big names you see there are the big names you're going to see on the screen. It's just a matter of time before people figure this out and start creating their own market.
Monday, December 31, 2012
Wednesday, December 26, 2012
The Bastards of Westeros . . . Or, A Game of Thrones Read
Illegitimacy is a major theme of George Martin's Game of Thrones. From the outset, Martin has exaggerated the division between Eddard Stark's legitimate children and his bastard son; the dwarf Tyrion Lannister comments that "all dwarfs are bastards in their fathers' eyes."
Male issue has historically been a big deal, and the time period that Martin is aping emphasized primogeniture--that the first-born son inherited everything, including wealth and title. In an era before birth-control and women's sexual liberation, men produced a lot of illegitimate heirs. Ensuring legitimacy was a full time job. I'm curious, at times, why Martin chose to emphasize it so heavily, though.
Certainly, verisimilitude necessitates the continual rehashing, but to modern readers it seems hollow and somewhat dull. Primogeniture has finally been absolved in the English monarchy, and if you haven't encountered fifty bastards today then you haven't left your house. Children born out of wedlock used to be a bigger deal; now it's commonplace. Finding the energy to care about Westeros's bastards is both dull and tiresome.
With that out of the way, let's recap what's been going on.
Male issue has historically been a big deal, and the time period that Martin is aping emphasized primogeniture--that the first-born son inherited everything, including wealth and title. In an era before birth-control and women's sexual liberation, men produced a lot of illegitimate heirs. Ensuring legitimacy was a full time job. I'm curious, at times, why Martin chose to emphasize it so heavily, though.
Certainly, verisimilitude necessitates the continual rehashing, but to modern readers it seems hollow and somewhat dull. Primogeniture has finally been absolved in the English monarchy, and if you haven't encountered fifty bastards today then you haven't left your house. Children born out of wedlock used to be a bigger deal; now it's commonplace. Finding the energy to care about Westeros's bastards is both dull and tiresome.
With that out of the way, let's recap what's been going on.
***Beware, there be SPOILERS ahead***
Let's see, I left off with Jon and Tyrion on the wall. Since then, Arya has gotten a swordmaster, Caetlyn and Eddard have contemplated war, Bran gets a new saddle, Robb is rude to Tyrion, Arya defies gender norms, Jon gets his own Samwise (I mean Samwell), Dany stands up for herself, and Eddard begins to suspect that the crown prince may be a bastard (or at least not the king's own son). I guess that's about it.
I think that summary actually does more justice to the book than it deserves. That makes it sound like things are happening, but in reality it feels like more plodding along waiting for something to happen. I have the sense that Martin is organizing his pieces, setting up a board on which he will eventually play; and some of my friends have intimated that something will eventually happen. I hope so, because despite my resolution, I've already begun reading other books and Game of Thrones has fallen to the wayside.
Tuesday, December 25, 2012
In Space No One Can Hear You Groan . . . Or, A Prometheus Re-Watch
By Steven McLain
I originally saw Prometheus in theaters opening weekend. I probably wasn't fanatical enough to see it at midnight, but I definitely saw it the next day. When the credits began to roll, I looked over at my friend and asked, "What the hell?" Because, at first brush, Prometheus seemed to be a steaming pile of poo.
But I couldn't imagine that the creative genius that had given me the original Alien franchise (which I enjoy in all of its incarnations, including Alien Vs. Predator) could make such a blatant promise to expand the Alien universe, and so horrendously fail at delivering an interesting, engaging movie. I didn't want to believe the hype about it not being an Alien prequel, and I felt pretty smug when the first alien popped out of the black goo and immediately sucked itself to a witless scientist's face. That seemed pretty blatantly out of Alien. Imagine my surprise, then, when characters began behaving inexplicably, plots went nowhere, an albino colossus arrived, and suddenly not-Ripley was being chased by aliens. I felt cheated.
So, I had to wonder if maybe I'd expected too much from this movie. Maybe I brought too many preconceptions and simply failed to let the movie speak to me on its own merit. With that in mind, I rented it from a local RedBox, and now I'm going to give it go. Fresh, as it were. Let's see how it stands up to a second viewing.
Press play. Let's get this party started.
Oh, a planet. What planet is it? Could it be Earth? Is it the past, present, or future? Who knows? (It's gorgeous regardless, like something the BBC would produce.) And a giant shadow sweeps from overhead, obscuring the sun--quick cut to a lone mendicant figure approaching a waterfall. He's strangely buff, and pure white. What kind of crazy technology does he have? Wait, he's drinking it. And while the spaceship ascends into heaven, he dissolves and we dive deep into his body at the cellular level to see his own DNA breaking apart. As he tumbles into the primordial waters, cue "Prometheus" and a montage of new cells replicating.
Super flash cut to some time later (millions--billions?--of years) to an archeological dig where some sort of scientists find cave markings (dating 35,000 years ago) and we've suddenly told that "they" want us to come find them. And another quick cut to the spaceship Prometheus, heading to an undisclosed destination, and David the Android making the rounds, checking up on the ship, being super-athletic, super-smart, watching old movies to imitate human behavior and generally being the most interesting thing we've seen so far.
Once they've arrived at their undisclosed destination, and everyone is awakened (and Meredith Vickers proves she's a bad-ass by doing pushups while still dripping from the cryo-sleep) they receive a debrief from Peter Weylan (who manages to make his artificial son both immeasurably happy and immeasurably distraught in the same sentence by reminding him he has no soul) and tells the crew they're looking for the creators of humanity. The archaeologists (why are they in space?) tell everyone that ancient civilizations, millennia and continents apart all describe giants reaching toward a particular "galactic configuration" so far away that no one from Earth could possibly have known about it. And they "choose to believe" that its a map toward the "Engineers." After paying over a trillion dollars to get them there, Vickers reveals that the scientists (archaeologists, biologists, just what the heck do they study?) can't actually make contact (if the aliens even happen to be there).
Now, for no particular reason, they land the ship on the planet. The CG is gorgeous. Once more, Scott has demonstrated his acumen with special effects.
After discovering an alien structure, everyone gung-hoes it on over (after a quick quip about how inhuman David is, underscoring the not-very-subtle theme of Creation/Creator) and proceed to immediately knock on the front door. The first thing they do is map the structure with automated mapping drones. And the guy whose job is to map the structure, who comments that the drones are his "pups" is the very first guy to get lost! But before that happens, off they go meandering into the depths of the structure and discover there's a breathable atmosphere within the structure (with hints that the aliens have been terraforming the planet). Then, just to prove how bad-ass everyone is (or trusting, or stupid) everyone takes off their helmets.
By exploring the ancient alien ruins, the movie clearly embeds itself in hard-core science fiction. Discovery is the name of the game in any sci-fi; the sense they we are all tiny parts of a greater, universal whole drives science fiction, and the first forty minutes or so of the movie are clearly sci-fi. These, then, are the tropes the audience will come to expect, and the questions that must be resolved by the climax.
Back to the movie. After David inexplicably touches a couple buttons, the hallway plays back a recording of three or four aliens sprinting down the hallway, and we see the violent death of the fourth when he is decapitated by a closing door; its dead body (2000 years dead) is lying in the dust. And now the geologists (who is in charge of mapping the structure, and has a nifty mapping app on the smart-doodad on his wrist) goes wandering off back to the ship. Once more, David pushes buttons without any particular rationale, and opens the door; and we discover both the head of the dead alien and what appears to be an egg room, filled with the same egg sacks we saw in Alien. Not an Alien prequel, my butt.
And then Not-Ripley makes the first (and possibly only) sensible statement of the movie: "Don't touch it." Don't touch the strange alien technology, please. With a storm on the way, the scientists head on back to the ship (but not the first two, who have instead gotten lost). On that note, when the scientists rush back in the face of the storm, they note that "they have already taken off" seeming to refer to the two scientists who left earlier, but who are in actuality lost in the structure. Where the heck did the transport go? Silly director can't keep track of all his superfluous characters.
After a minor mishap, everyone gets back to the ship, except for the two scientists who are lost inside the alien structure. Since I've already addressed how ridiculous this is, I'll move on.
Oh look, they brought the alien head back to the ship and now they're doing experiments on it. Except it's not a head, it's a helmet and there's a head inside! It's one of the white guys we saw at the beginning. And it's perfectly mummified. So perfectly mummified that they can see new cellular growth on the skull. And using some sort of psuedoscientific technobabble, they manage "trick the nervous system" (which has been dead 2000 years) into believing its alive. And then it explodes. There's green goo everywhere.
After the first intimations that Peter Weylan is alive and on the ship, Vickers assaults David to find out what he told David. "Try harder," is the nebulous answer. But then David goes and extracts samples from the alien device he found in the egg-room. At the same time, Not-Ripley gene sequences the sample from the exploded head (isn't she an archaeologist?) and discovers that it's the same as human DNA. And David ominously states that "big things have small beginnings" once he extracts some of the black goo from the device. Most ominously of all, he then slips Dr. Holloway (male scientist) some black goo in his drink.
The two engage in a tete-a-tete about the nature of creation and the theme of Creator/Creation is expanded so that David expounds on the disappointment he feels about his own creators, and the disappointment that we would feel realizing the Engineers are our own.
Back to the structure, where the lost scientists discover a pile of dead aliens, ruptured from the inside. And a mapping probe discovers a life-form and the lost scientists are tasked to go see what it is. But then it mysteriously disappears and the two scientists head in the opposite direction.
Back on the ship, Dr. Holloway whines about how he wanted to chat with the aliens, but now he can't. "Life isn't special" we're told, anyone with some DNA and a dash of brains can make it, and Not-Ripley reveals that she is infertile and the two have hot make-up sex. And then, for no good reason that I can discern, ice-queen Vickers gets some jungle-fever and heads down to the bridge to seduce the captain. Actually, she headed down there so that the screenwriter could get empty the bridge so that no one could witness the travesty about to transpire in the alien structure.
Said travesty being the two scientists, one who has modified his suit into a gigantic bong (giving excuse for their idiocy), poking the cobra-like alien that suddenly appears. As Steve Irwin knew, you shouldn't poke things that don't like being poked. Then, inevitably, the alien manages to invade one suit and implant an egg deep inside his chest. (And of course, since this is not an Alien prequel, I have no idea what's going to happen next.)
The next morning, after male-scientist discovers something dark and wormy in his eye and dismissing it, the lost scientists are discovered incommunicado and everyone goes off looking for them. David, meanwhile, goes off on a secret mission to figure out what that mysterious glitch (and the intermittent life-form signal) was from the night before. Oh look, a room full of those strange black-goo canisters. And the alien command center. David, of course, must explore. And the dead scientist and the implanted scientist are both discovered, and Holloway's sickness is revealed.
David, meanwhile, has managed to restart the command center and is once more shown a playback of the crew's last moments, which includes a map of the known universe and the planets that have been seeded with Engineer DNA. Grand, sweeping music plays to remind us that we are still in a science-fiction movie (not the action/horror into which it is quickly devolving). Then David discovers the Engineer in stasis. So maybe Holloway and Weylan can meet their maker after all.
On the way back to the ship, Holloway begins to change. They realize it's not a simple illness, but rather an alien infection, and Vickers is determined to impose quarantine (with a flame-thrower, no less). To protect the woman he loves, Holloway submits himself to the flames.
Fears of contagion spread; Not-Ripley undergoes a bio-scan and discovers that she is pregnant (but how can that be, since she's infertile? Oh that's right, she's incubating alien spawn.) David gets steadily creepier by this point and dopes Not-Ripley so that they can put her in cryo-sleep to take her home, but she's wise to the plan and fights her way to med-pod and uses the auto-surgery function to cut the bastard out of belly. (Assuming some pretty hefty antibiotics, you still have to wonder how she can go superwoman later in the movie with a foot-wide gash stapled closed in her abdomen.)
Once the alien is removed, stoned-scientist returns to the ship. Or does he? Nope. It's his body possessed by the black goo and while Not-Ripley is stumbling around, bleeding and weak from her surgery, he goes on a fiery rampage in the cargo bay. Nothing but the captain (and his flame-thrower) can stop him. Not-Ripley (pretty high on morphine, I've gotta admit) stumbles into Weylan's pod where people we've never seen before are tending to his recently thawed self. He gets to meet his maker and jaunts off to see the albino colossus. With all the recent carnage, however, Not-Ripley tells him that the Engineers aren't what the scientists (seriously, what did they get their doctorate in?) thought they were. Weylan taunts her by wondering if she's lost her faith.
Back in Not-Ripley's cabin, the captain posits that they've stumbled over an Engineer weapons depot; they made weapons of mass destruction and they turned on the Engineers. Not-Ripley and the captain wax eloquent about preventing the spread of contamination, then Not-Ripley follows Weylan into the alien structure to see just what the heck it's all about. On Prometheus, the captain discovers that there's an alien ship inside the structure.
In the alien structure, David reveals that the Engineer ship is heading to earth to destroy everything living there. Then he wakes up the sleeping Engineer, who is not pleased to see David, Weylan or anybody else. And suddenly we're running form baddies. Not really sure why. Perhaps it's a comment on the inherent hostility of the universe, or its ultimate unknowability, or simply the Lovecraftian notion that we're not all that important in the grand scheme of things.
Regardless, now that he's been awakened, the Engineer launches the ship toward Earth, sealing himself in the space-jockey suit that has nothing, whatsoever, to do with the original Alien. And the rest of the movie is running, trying not to be fried to a crisp when the alien ship launches, outrunning a tumbling alien space-craft, fighting off an alien whose metabolism defies thermodynamics, and ultimately defeating the Engineer. In the process of which, the alien impregnate its Engineer creator and the xenomorph is created. Because, you know, this isn't a prequel to Alien.
So, other than the fact that this isn't a prequel to Alien, I actually enjoyed this movie a lot more on the re-watch. I'm still uncertain about a lot of the plot holes, and genuinely unsure why any of it happened, much less how human beings were created 35,000 years ago by alien Engineers who then (roughly around the time of Christ) want to destroy humanity. That being said, it holds up better than I initially thought, and generally feels like a good science fiction. But the initial premise, the early questions, are left unanswered (even though David tells us "the answer is irrelevant"), and ultimately, the promise that the movie made in the first sequence is unfulfilled.
I originally saw Prometheus in theaters opening weekend. I probably wasn't fanatical enough to see it at midnight, but I definitely saw it the next day. When the credits began to roll, I looked over at my friend and asked, "What the hell?" Because, at first brush, Prometheus seemed to be a steaming pile of poo.
But I couldn't imagine that the creative genius that had given me the original Alien franchise (which I enjoy in all of its incarnations, including Alien Vs. Predator) could make such a blatant promise to expand the Alien universe, and so horrendously fail at delivering an interesting, engaging movie. I didn't want to believe the hype about it not being an Alien prequel, and I felt pretty smug when the first alien popped out of the black goo and immediately sucked itself to a witless scientist's face. That seemed pretty blatantly out of Alien. Imagine my surprise, then, when characters began behaving inexplicably, plots went nowhere, an albino colossus arrived, and suddenly not-Ripley was being chased by aliens. I felt cheated.
So, I had to wonder if maybe I'd expected too much from this movie. Maybe I brought too many preconceptions and simply failed to let the movie speak to me on its own merit. With that in mind, I rented it from a local RedBox, and now I'm going to give it go. Fresh, as it were. Let's see how it stands up to a second viewing.
Press play. Let's get this party started.
***Major SPOILERS ahead***
Oh, a planet. What planet is it? Could it be Earth? Is it the past, present, or future? Who knows? (It's gorgeous regardless, like something the BBC would produce.) And a giant shadow sweeps from overhead, obscuring the sun--quick cut to a lone mendicant figure approaching a waterfall. He's strangely buff, and pure white. What kind of crazy technology does he have? Wait, he's drinking it. And while the spaceship ascends into heaven, he dissolves and we dive deep into his body at the cellular level to see his own DNA breaking apart. As he tumbles into the primordial waters, cue "Prometheus" and a montage of new cells replicating.
Super flash cut to some time later (millions--billions?--of years) to an archeological dig where some sort of scientists find cave markings (dating 35,000 years ago) and we've suddenly told that "they" want us to come find them. And another quick cut to the spaceship Prometheus, heading to an undisclosed destination, and David the Android making the rounds, checking up on the ship, being super-athletic, super-smart, watching old movies to imitate human behavior and generally being the most interesting thing we've seen so far.
Once they've arrived at their undisclosed destination, and everyone is awakened (and Meredith Vickers proves she's a bad-ass by doing pushups while still dripping from the cryo-sleep) they receive a debrief from Peter Weylan (who manages to make his artificial son both immeasurably happy and immeasurably distraught in the same sentence by reminding him he has no soul) and tells the crew they're looking for the creators of humanity. The archaeologists (why are they in space?) tell everyone that ancient civilizations, millennia and continents apart all describe giants reaching toward a particular "galactic configuration" so far away that no one from Earth could possibly have known about it. And they "choose to believe" that its a map toward the "Engineers." After paying over a trillion dollars to get them there, Vickers reveals that the scientists (archaeologists, biologists, just what the heck do they study?) can't actually make contact (if the aliens even happen to be there).
Now, for no particular reason, they land the ship on the planet. The CG is gorgeous. Once more, Scott has demonstrated his acumen with special effects.
After discovering an alien structure, everyone gung-hoes it on over (after a quick quip about how inhuman David is, underscoring the not-very-subtle theme of Creation/Creator) and proceed to immediately knock on the front door. The first thing they do is map the structure with automated mapping drones. And the guy whose job is to map the structure, who comments that the drones are his "pups" is the very first guy to get lost! But before that happens, off they go meandering into the depths of the structure and discover there's a breathable atmosphere within the structure (with hints that the aliens have been terraforming the planet). Then, just to prove how bad-ass everyone is (or trusting, or stupid) everyone takes off their helmets.
By exploring the ancient alien ruins, the movie clearly embeds itself in hard-core science fiction. Discovery is the name of the game in any sci-fi; the sense they we are all tiny parts of a greater, universal whole drives science fiction, and the first forty minutes or so of the movie are clearly sci-fi. These, then, are the tropes the audience will come to expect, and the questions that must be resolved by the climax.
Back to the movie. After David inexplicably touches a couple buttons, the hallway plays back a recording of three or four aliens sprinting down the hallway, and we see the violent death of the fourth when he is decapitated by a closing door; its dead body (2000 years dead) is lying in the dust. And now the geologists (who is in charge of mapping the structure, and has a nifty mapping app on the smart-doodad on his wrist) goes wandering off back to the ship. Once more, David pushes buttons without any particular rationale, and opens the door; and we discover both the head of the dead alien and what appears to be an egg room, filled with the same egg sacks we saw in Alien. Not an Alien prequel, my butt.
And then Not-Ripley makes the first (and possibly only) sensible statement of the movie: "Don't touch it." Don't touch the strange alien technology, please. With a storm on the way, the scientists head on back to the ship (but not the first two, who have instead gotten lost). On that note, when the scientists rush back in the face of the storm, they note that "they have already taken off" seeming to refer to the two scientists who left earlier, but who are in actuality lost in the structure. Where the heck did the transport go? Silly director can't keep track of all his superfluous characters.
After a minor mishap, everyone gets back to the ship, except for the two scientists who are lost inside the alien structure. Since I've already addressed how ridiculous this is, I'll move on.
Oh look, they brought the alien head back to the ship and now they're doing experiments on it. Except it's not a head, it's a helmet and there's a head inside! It's one of the white guys we saw at the beginning. And it's perfectly mummified. So perfectly mummified that they can see new cellular growth on the skull. And using some sort of psuedoscientific technobabble, they manage "trick the nervous system" (which has been dead 2000 years) into believing its alive. And then it explodes. There's green goo everywhere.
After the first intimations that Peter Weylan is alive and on the ship, Vickers assaults David to find out what he told David. "Try harder," is the nebulous answer. But then David goes and extracts samples from the alien device he found in the egg-room. At the same time, Not-Ripley gene sequences the sample from the exploded head (isn't she an archaeologist?) and discovers that it's the same as human DNA. And David ominously states that "big things have small beginnings" once he extracts some of the black goo from the device. Most ominously of all, he then slips Dr. Holloway (male scientist) some black goo in his drink.
The two engage in a tete-a-tete about the nature of creation and the theme of Creator/Creation is expanded so that David expounds on the disappointment he feels about his own creators, and the disappointment that we would feel realizing the Engineers are our own.
Back to the structure, where the lost scientists discover a pile of dead aliens, ruptured from the inside. And a mapping probe discovers a life-form and the lost scientists are tasked to go see what it is. But then it mysteriously disappears and the two scientists head in the opposite direction.
Back on the ship, Dr. Holloway whines about how he wanted to chat with the aliens, but now he can't. "Life isn't special" we're told, anyone with some DNA and a dash of brains can make it, and Not-Ripley reveals that she is infertile and the two have hot make-up sex. And then, for no good reason that I can discern, ice-queen Vickers gets some jungle-fever and heads down to the bridge to seduce the captain. Actually, she headed down there so that the screenwriter could get empty the bridge so that no one could witness the travesty about to transpire in the alien structure.
Said travesty being the two scientists, one who has modified his suit into a gigantic bong (giving excuse for their idiocy), poking the cobra-like alien that suddenly appears. As Steve Irwin knew, you shouldn't poke things that don't like being poked. Then, inevitably, the alien manages to invade one suit and implant an egg deep inside his chest. (And of course, since this is not an Alien prequel, I have no idea what's going to happen next.)
The next morning, after male-scientist discovers something dark and wormy in his eye and dismissing it, the lost scientists are discovered incommunicado and everyone goes off looking for them. David, meanwhile, goes off on a secret mission to figure out what that mysterious glitch (and the intermittent life-form signal) was from the night before. Oh look, a room full of those strange black-goo canisters. And the alien command center. David, of course, must explore. And the dead scientist and the implanted scientist are both discovered, and Holloway's sickness is revealed.
David, meanwhile, has managed to restart the command center and is once more shown a playback of the crew's last moments, which includes a map of the known universe and the planets that have been seeded with Engineer DNA. Grand, sweeping music plays to remind us that we are still in a science-fiction movie (not the action/horror into which it is quickly devolving). Then David discovers the Engineer in stasis. So maybe Holloway and Weylan can meet their maker after all.
On the way back to the ship, Holloway begins to change. They realize it's not a simple illness, but rather an alien infection, and Vickers is determined to impose quarantine (with a flame-thrower, no less). To protect the woman he loves, Holloway submits himself to the flames.
Fears of contagion spread; Not-Ripley undergoes a bio-scan and discovers that she is pregnant (but how can that be, since she's infertile? Oh that's right, she's incubating alien spawn.) David gets steadily creepier by this point and dopes Not-Ripley so that they can put her in cryo-sleep to take her home, but she's wise to the plan and fights her way to med-pod and uses the auto-surgery function to cut the bastard out of belly. (Assuming some pretty hefty antibiotics, you still have to wonder how she can go superwoman later in the movie with a foot-wide gash stapled closed in her abdomen.)
Once the alien is removed, stoned-scientist returns to the ship. Or does he? Nope. It's his body possessed by the black goo and while Not-Ripley is stumbling around, bleeding and weak from her surgery, he goes on a fiery rampage in the cargo bay. Nothing but the captain (and his flame-thrower) can stop him. Not-Ripley (pretty high on morphine, I've gotta admit) stumbles into Weylan's pod where people we've never seen before are tending to his recently thawed self. He gets to meet his maker and jaunts off to see the albino colossus. With all the recent carnage, however, Not-Ripley tells him that the Engineers aren't what the scientists (seriously, what did they get their doctorate in?) thought they were. Weylan taunts her by wondering if she's lost her faith.
Back in Not-Ripley's cabin, the captain posits that they've stumbled over an Engineer weapons depot; they made weapons of mass destruction and they turned on the Engineers. Not-Ripley and the captain wax eloquent about preventing the spread of contamination, then Not-Ripley follows Weylan into the alien structure to see just what the heck it's all about. On Prometheus, the captain discovers that there's an alien ship inside the structure.
In the alien structure, David reveals that the Engineer ship is heading to earth to destroy everything living there. Then he wakes up the sleeping Engineer, who is not pleased to see David, Weylan or anybody else. And suddenly we're running form baddies. Not really sure why. Perhaps it's a comment on the inherent hostility of the universe, or its ultimate unknowability, or simply the Lovecraftian notion that we're not all that important in the grand scheme of things.
Regardless, now that he's been awakened, the Engineer launches the ship toward Earth, sealing himself in the space-jockey suit that has nothing, whatsoever, to do with the original Alien. And the rest of the movie is running, trying not to be fried to a crisp when the alien ship launches, outrunning a tumbling alien space-craft, fighting off an alien whose metabolism defies thermodynamics, and ultimately defeating the Engineer. In the process of which, the alien impregnate its Engineer creator and the xenomorph is created. Because, you know, this isn't a prequel to Alien.
So, other than the fact that this isn't a prequel to Alien, I actually enjoyed this movie a lot more on the re-watch. I'm still uncertain about a lot of the plot holes, and genuinely unsure why any of it happened, much less how human beings were created 35,000 years ago by alien Engineers who then (roughly around the time of Christ) want to destroy humanity. That being said, it holds up better than I initially thought, and generally feels like a good science fiction. But the initial premise, the early questions, are left unanswered (even though David tells us "the answer is irrelevant"), and ultimately, the promise that the movie made in the first sequence is unfulfilled.
Monday, December 24, 2012
Wizards, and Sorcerers, and Scientists, Oh My! . . . Or, The Age of Magical Realism
Arthur C. Clare |
We live in a magical age. Arthur C. Clarke once posited that any sufficiently advanced technology is indistinguishable from magic. This rather off-the-cuff remark has since passed into the realm of law, much like Moore's Law, or Murphy's Law, a much-cited dictum that helps articulate and explain the human behavior beyond the more universal laws of physics, thermodynamics, and others.
When Clarke made that that observation, however, he meant it almost entirely within the realm of speculative fiction. It has since been embraced by members of the scientific community (most famously by SETI) as a means of explaining how an advanced alien civilization would appear to human beings.
Nikola Tesla |
You might be a little more familiar with A Connecticut Yankee in King Arthur's Court by Mark Twain, (or Army of Darkness starring Bruce Campbell) in which an man from what would be perceived as the future is transported back in time to the Middle Ages and uses his advanced knowledge to fool his audience into believing that he is a magician. The principle, however, is the same and exemplifies Clarke's Law perfectly. Were we to transport someone even from the turn of the twentieth century to our world, they would be amazed by the technological progress we have made.
But they would understand that it is technological. Nonetheless, it would be incomprehensible to them. The fundamental scientific knowledge would be beyond their grasp, just as it is beyond the grasp of most people living today. Between the turn of the twentieth and the very first years of the twentieth century, revolutions in physics, chemistry, and medicine fundamentally altered accepted scientific beliefs.
A paradigm shift had occurred in physics, which moved beyond atomic theory into quantum theory. Chemistry had yet to unlock the secrets of vitamins (a substance still famously misunderstood), and medicine had yet to divide the mental from the physical. Technology was mechanical; cause and effect were easily understood. Metallurgy, however, was still in its infancy (as the brittle steel from the Titanic can attest) and the most advanced technology for that time was steam power (a technology which had existed for well over a century). Inroads had been made in battery technology, and electricity was becoming useful, but was not yet common. Indoor plumbing was still a sort of fad, telephones were yet to be invented, and radio was unknown. It was a fundamentally different time.
But if you were to explain the differences between then and now to our hypothetical time-traveler, you would, undoubtedly, calm his (or hers, but probably his since education was largely restricted to men even in this time) fears by explaining that all these wonders were products of human ingenuity and human technology. When pressed to explain all of them, however, you would be left stumped. How does that car work? What is that chunk of strange material you hold to your ear (or perhaps the smaller bit wedged indecorously into your ear that is neither blue, nor does it resemble much of a tooth) and how does it function? Could you please design and explain the workings of the thing which curiously resembles a typewriters and emits the glowing radiation the Curies have famously just demonstrated?
More importantly, why are you not worried about contracting polio, typhus, measles, mumps, influenza (in any real sense), or the myriad other common contagions which still decimate the human population in frequent batches. More to the point, why do you have all your teeth? Why are you so abnormally tall? And mother of all wonders, how can you afford to eat a hamburger (possibly with bacon) for every single meal?
I'm cherry-picking examples, because these are the most obvious wonders of our age. But pressed, how many could you explain with sufficient detail to satisfy our time-traveler? This all comes back around to my original statement. This is all technology sufficiently advanced to be mistaken for magic by the uninitiated. Even the word "initiated" has embedded within it hints of the esoteric, of secrets hidden and only carefully divulged. We currently spend nearly twenty years being inducted into that world (an American high school education being woefully inadequate for this endeavor), an entire lifespan to many of our forebears.
Just two guys . . . making science |
Ultimately, it means the fracture of human knowledge into increasingly inaccessible bits. As this phenomenon becomes increasingly commonplace, and the average body of knowledge shrinks, technology will become much more mystical, until one day it will be regarded with the same wonder and fascination as magic. This gets me back to my original point, which is to say that we've already reached that point to some extent. Our technology has outstripped our ability to understand and define it. No one person can fully understand all of it, or even grasp the fundamental principles which underpin it.
This guy got it |
So take this as a rallying cry. We live in a magical age. Let's make it understandable again.
Friday, December 21, 2012
Weekend Update!
Welcome to the end of the world! Now. Everyone back to their lives.
I've recently been hearing a lot about the unexpected success of Kickstarter projects. It's a remarkable phenomenon, and strikes me as more of a paradigm shift within the publishing industry than e-books; it represents capitalism in its truest, simplest form. As such, it allows creators the opportunity to assess the market before they've committed capital to create it. It's a game-changer.
Tobias Buckell created a Kickstarter recently to publish the fourth book in a five-book series. Even though Buckell found fame with Crystal Rain, the first in a proposed five-part series, I first heard of his eco-science fiction book Arctic Rising, which I reviewed early in my blog history. The first three books of his Xenowealth Universe were published by Tor, but when sales weren't as strong as either party hoped, Buckell opted to head in a different direction.
But he always wanted to finish the series, and this is his chance. The project is completed, and you can purchase the book at either his website or amazon. But he took the time to do a post-project debrief, and like his collection of short stories Nascence, he contemplates what succeeded, what failed, and what he might do differently in the future.
Macmillan Publishing is continuing its suit against the DOJ for price-fixing. John Sergeant explains in a letter to authors, agents and illustrators why Macmillan is sticking it out when the giants have already settled. The crux of the issue is that Macmillan believes it creates an unfair marketplace and that settling ultimately harms authors and customers. I'm not sure I entirely agree, but I'm proud of him for sticking to his guns. It all boils down to the basic fact that he doesn't think its right to settle when they haven't done anything wrong, and you have to applaud him for that.
It's been 22 years, and The Wheel of Time is set to wrap up in January 2013. I'm excited and can't wait to see how everything ends. Brandon Sanderson, Harriet McDougal and Tom Doherty reminisce:
A new photo of the interior of the TARDIS was recently released. In addition to a new companion, new outfit for the Doctor and a brand new direction, the TARDIS has been fully re-designed. It looks a little depressed, but that might just reflect the Doctor's feelings about losing the Ponds. Also, it has the weird steampunk vibe that's been popular recently. Let me know what you think.
A lot of really good sci-fi and fantasy movies came out this year. A lot of really bad sci-fi and fantasy movies came out this year. io9.com broke it all down and announced the top ten best and worst of 2012. Not surprising, Prometheus made #9 on the the "worst" list. Surprisingly, Cloud Atlas made both the best and worst list. While the best movies seemed to follow an indie trend (markedly interrupted by The Avengers), the sequels and continuations of franchises comprised the worst sci-fi and fantasy movies of 2012.
In movie news, The Hobbit: An Unexpected Journey continues to pull in huge numbers, after an opening weekend of $84 million in the United States and has since grossed $222 million worldwide. Despite generally milquetoast reviews, it continues to elicit a positive response from movie-goers. Zero Dark Thirty and Jack Reacher are both opening this week and Lincoln, Skyfall, and Life of Pi are still pulling in respectable box-office revenues.
I'll leave you with two trailers this week. The first is for John Dies at the End, a gory, vicious movie based on the novel by the same name; the second is Storage 24, what seems like a paint-by-numbers get-out-alive monster horror. But some of the premise and setting looked interesting; let me know what you think.
I've recently been hearing a lot about the unexpected success of Kickstarter projects. It's a remarkable phenomenon, and strikes me as more of a paradigm shift within the publishing industry than e-books; it represents capitalism in its truest, simplest form. As such, it allows creators the opportunity to assess the market before they've committed capital to create it. It's a game-changer.
Tobias Buckell created a Kickstarter recently to publish the fourth book in a five-book series. Even though Buckell found fame with Crystal Rain, the first in a proposed five-part series, I first heard of his eco-science fiction book Arctic Rising, which I reviewed early in my blog history. The first three books of his Xenowealth Universe were published by Tor, but when sales weren't as strong as either party hoped, Buckell opted to head in a different direction.
But he always wanted to finish the series, and this is his chance. The project is completed, and you can purchase the book at either his website or amazon. But he took the time to do a post-project debrief, and like his collection of short stories Nascence, he contemplates what succeeded, what failed, and what he might do differently in the future.
Macmillan Publishing is continuing its suit against the DOJ for price-fixing. John Sergeant explains in a letter to authors, agents and illustrators why Macmillan is sticking it out when the giants have already settled. The crux of the issue is that Macmillan believes it creates an unfair marketplace and that settling ultimately harms authors and customers. I'm not sure I entirely agree, but I'm proud of him for sticking to his guns. It all boils down to the basic fact that he doesn't think its right to settle when they haven't done anything wrong, and you have to applaud him for that.
It's been 22 years, and The Wheel of Time is set to wrap up in January 2013. I'm excited and can't wait to see how everything ends. Brandon Sanderson, Harriet McDougal and Tom Doherty reminisce:
A new photo of the interior of the TARDIS was recently released. In addition to a new companion, new outfit for the Doctor and a brand new direction, the TARDIS has been fully re-designed. It looks a little depressed, but that might just reflect the Doctor's feelings about losing the Ponds. Also, it has the weird steampunk vibe that's been popular recently. Let me know what you think.
The best and the worst at io9.com |
In movie news, The Hobbit: An Unexpected Journey continues to pull in huge numbers, after an opening weekend of $84 million in the United States and has since grossed $222 million worldwide. Despite generally milquetoast reviews, it continues to elicit a positive response from movie-goers. Zero Dark Thirty and Jack Reacher are both opening this week and Lincoln, Skyfall, and Life of Pi are still pulling in respectable box-office revenues.
I'll leave you with two trailers this week. The first is for John Dies at the End, a gory, vicious movie based on the novel by the same name; the second is Storage 24, what seems like a paint-by-numbers get-out-alive monster horror. But some of the premise and setting looked interesting; let me know what you think.
Thursday, December 20, 2012
Sandman Slim Review
Jimmy "Wild Bill" Stark fought his way out of Hell and now he's back to wreak vengeance on the men and women who put him there. That's the nutshell synopsis of Sandman Slim by Richard Kadrey, a wild thrill-ride of supernatural mayhem that takes the tropes of urban supernatural fantasy and turns them on their heads. After being banished to hell by the men and women of his coven, James Stark fights for eleven years in the arena of Hell against supernatural creatures, manipulated by demonic generals and even Lucifer himself. But when the opportunity presents itself, Stark seizes it and makes good his escape from Hell.
Priority number one, find and kill the men and women that sentenced him to Hell. First, though, he has to find them, and this comprises the bulk of the novel. Interspersed throughout are hints of a larger supernatural world, filled with werewolves, vampires, zombies, and a branch of Homeland Security collaborating with angels. It's quick, irreverent and a lot of fun.
This isn't a particularly unique addition to the urban fantasy subgenre. Nothing about the content stands out as unusual except for the voice of the protagonist. Told in the first person present tense, this novel manages to evoke a noir sensibility within the confines of urban fantasy. That alone makes it worth reading. The voice comes across as gritty, weary and terribly angry, yet maintains the pace and wit of a good graphic novel. Snappy one-liners abound, and we follow the protagonist through his anger, grief and confusion.
Despite these drawbacks, they are minor and Kadrey presents the beginnings of a rich and evocative world full of supernatural wonders. The hints of greater goings-on and the beginning of deeply emotional connections abound and I expect the subsequent books in the series to exploit all the hints that's he's laid. It's fun, and definitely worth reading. I definitely recommend it.
Priority number one, find and kill the men and women that sentenced him to Hell. First, though, he has to find them, and this comprises the bulk of the novel. Interspersed throughout are hints of a larger supernatural world, filled with werewolves, vampires, zombies, and a branch of Homeland Security collaborating with angels. It's quick, irreverent and a lot of fun.
This isn't a particularly unique addition to the urban fantasy subgenre. Nothing about the content stands out as unusual except for the voice of the protagonist. Told in the first person present tense, this novel manages to evoke a noir sensibility within the confines of urban fantasy. That alone makes it worth reading. The voice comes across as gritty, weary and terribly angry, yet maintains the pace and wit of a good graphic novel. Snappy one-liners abound, and we follow the protagonist through his anger, grief and confusion.
Despite these drawbacks, they are minor and Kadrey presents the beginnings of a rich and evocative world full of supernatural wonders. The hints of greater goings-on and the beginning of deeply emotional connections abound and I expect the subsequent books in the series to exploit all the hints that's he's laid. It's fun, and definitely worth reading. I definitely recommend it.
Wednesday, December 19, 2012
The Frakking Others . . . Or, Game of Thrones Reading Update
I've been reading through George R.R. Martin's fantasy epic Game of Thrones. It's not the first time and once more I'm reaching the part where I just want to put it down. You know that part, where nothing happens and people whine about how much they'd rather being doing something else, another kid starts crying, or the dwarf dispenses pithy words of wisdom? Oh, wait. That's all of it.
I'm about 250 pages in and so far I have discovered that despite being reared in the far north by a father as cold as ice and hard as iron, the Stark children sure do cry a lot. In fact, I counted. In nearly every perspective in which they appear, they try (unsuccessfully) to stifle tears. They've been teased, bullied and frightened. One has been shoved from a tower, another has had her wolf executed (by her father, no less), and another had her friend ridden down and hacked apart. So maybe they have a reason to cry. But I'm beginning to suspect this is a book less about magic and intrigue and more about how many tears these children can spill.
So, running recap. Eddard Stark doesn't want to go south, the king does; Caetlyn hates Jon; Jon wants to prove himself; the Others are this series' version of "frak" (the Other frakking take you); and Daenerys got diddled by a horselord. Did I miss anything? Oh yeah, assassins are inept, conspiracies are obvious and the Cersei Lannister is a conniving, incestuous bitch.
Also, in two hundred pages not a lot actually happens. Each chapter is a major jump in either time or space, with quick stretches of exposition to let the reader know where he is. World-building on the cheap, as I've come to think of it, lends itself well to the style of jump-cutting we see in movies or television shows (a reason I think it has done so well on HBO).
I've discovered, as well, that in these first two hundred pages there isn't really a protagonist. I can see the underpinnings of a conflict, and there are a couple characters I suspect will become protagonists (Eddard Stark was just eliminated as protagonist-worthy, in my mind); but in the tens of thousands of words I've already read, no one stands out. That lack of conflict is dangerous, because it leads me to suspect that not much is going to happen for another two hundred pages.
Ultimately, I think this is why I put the book down so often. It's just interminably boring. And there are the random POV shifts throughout the book; I'd call them errors but it seems to be used purposefully. If so, I can't imagine to what end. Shifting from 3rd to 2nd person mid-narrative is just jarring. And also unnecessary. Whenever I note them I wonder if it could have been written differently, and I discover that easy solutions exist. I suspect either his editor didn't notice, or both were too lazy to care. Either way, it rips me out of the narrative. It's distracting; and in a book already teeming with not-much-of-anything-going-on, these distractions make me want to put the book aside.
**MINOR SPOILERS**
I'm about 250 pages in and so far I have discovered that despite being reared in the far north by a father as cold as ice and hard as iron, the Stark children sure do cry a lot. In fact, I counted. In nearly every perspective in which they appear, they try (unsuccessfully) to stifle tears. They've been teased, bullied and frightened. One has been shoved from a tower, another has had her wolf executed (by her father, no less), and another had her friend ridden down and hacked apart. So maybe they have a reason to cry. But I'm beginning to suspect this is a book less about magic and intrigue and more about how many tears these children can spill.
So, running recap. Eddard Stark doesn't want to go south, the king does; Caetlyn hates Jon; Jon wants to prove himself; the Others are this series' version of "frak" (the Other frakking take you); and Daenerys got diddled by a horselord. Did I miss anything? Oh yeah, assassins are inept, conspiracies are obvious and the Cersei Lannister is a conniving, incestuous bitch.
Also, in two hundred pages not a lot actually happens. Each chapter is a major jump in either time or space, with quick stretches of exposition to let the reader know where he is. World-building on the cheap, as I've come to think of it, lends itself well to the style of jump-cutting we see in movies or television shows (a reason I think it has done so well on HBO).
I've discovered, as well, that in these first two hundred pages there isn't really a protagonist. I can see the underpinnings of a conflict, and there are a couple characters I suspect will become protagonists (Eddard Stark was just eliminated as protagonist-worthy, in my mind); but in the tens of thousands of words I've already read, no one stands out. That lack of conflict is dangerous, because it leads me to suspect that not much is going to happen for another two hundred pages.
Ultimately, I think this is why I put the book down so often. It's just interminably boring. And there are the random POV shifts throughout the book; I'd call them errors but it seems to be used purposefully. If so, I can't imagine to what end. Shifting from 3rd to 2nd person mid-narrative is just jarring. And also unnecessary. Whenever I note them I wonder if it could have been written differently, and I discover that easy solutions exist. I suspect either his editor didn't notice, or both were too lazy to care. Either way, it rips me out of the narrative. It's distracting; and in a book already teeming with not-much-of-anything-going-on, these distractions make me want to put the book aside.
Tuesday, December 18, 2012
Pacific Rim Trailer . . . Or, This Is What I Got Instead of At The Mountains Of Madness
Guillermo Del Toro has been hinting that he'd finally put H.P. Lovecraft's "At the Mountains of Madness" to celluloid (actually, is there any celluloid used in movies anymore?) for a while now. Most of his movies hint at the darkness that lurks behind our world; both of the Hellboy movies are directly inspired by Lovecraft, and Pan's Labyrinth has the same foreboding sense of another world hidden just out of the corner of your eye. His work is dark, and ominous, and you have the sense that humanity is small and insignificant compared to the forces arrayed against it.
This is the premise to Pacific Rim. Monsters have traveled via dimensional gateway to our world and we are incapable of fighting back. But instead of lying down to die, we find a way to fight back. And that way? We built Voltron. Take a look at the trailer below and try to tell me that instead of At the Mountains of Madness, I didn't get Voltron. Everything about this movie smacks of ridiculous. So, uranium-depleted bullets don't pierce monster hide, I get it. But where does the logic of building giant robots come in? And then making them anthropomorphic. We have bombs, currently, that can bore hundreds of feet into solid earth, stone and concrete and you're telling me we had to build a three hundred foot version of Real Steel? We can bash these transdimensional monsters to a bloody pulp, but we can't drop a tactical nuke on them. Ridiculous. Where's Shia LeBeouf when you need him?
I realize that for every movie I have to suspend my disbelief, but this movie asks too much.
Guillermo. You've disappointed me.
This is the premise to Pacific Rim. Monsters have traveled via dimensional gateway to our world and we are incapable of fighting back. But instead of lying down to die, we find a way to fight back. And that way? We built Voltron. Take a look at the trailer below and try to tell me that instead of At the Mountains of Madness, I didn't get Voltron. Everything about this movie smacks of ridiculous. So, uranium-depleted bullets don't pierce monster hide, I get it. But where does the logic of building giant robots come in? And then making them anthropomorphic. We have bombs, currently, that can bore hundreds of feet into solid earth, stone and concrete and you're telling me we had to build a three hundred foot version of Real Steel? We can bash these transdimensional monsters to a bloody pulp, but we can't drop a tactical nuke on them. Ridiculous. Where's Shia LeBeouf when you need him?
I realize that for every movie I have to suspend my disbelief, but this movie asks too much.
Guillermo. You've disappointed me.
Monday, December 17, 2012
New Doctor Who Minisode!
Ramping up for the upcoming Doctor Who Christmas special is another minisode which finds the Silurian Madame Vastra and her companion Jenny investigating one mystery just to be confronted by another. Take a look.
Lord of the Rings 2.0 . . . Or, The Hobbit: An Unexpected Journey Review
The Hobbit: An Unexpected Journey is a lush movie evocative of the Middle Earth we've come to expect of Peter Jackson. And that's about it. Fans of The Lord of the Rings books will probably love this movie. Fans of the movies will wonder what the big deal is. It's another Lord of the Rings movie and all that entails. A lot of CG (some of it admirable, some of it bafflingly bad), a lot of character prosthetics, and a staggering array of hints, peaks and taunting references to a world that has passed into legend.
It's hard separating this movie from the previous trilogy, and Jackson has done that on purpose, consciously building a prequel to the Lord of the Rings movies. Framing the story around an older Bilbo sitting down to write out the true story of his adventures, it sets it in the days immediately preceding the birthday/going-away party witnessed in the The Fellowship of the Ring. The juxtaposition between the two is jarring and creates an oddly reminiscent tone that will be touched on a few times in the movie. Indeed, much of the back story is told as tales within tales, or remembrances around a campfire.
The core of the story you probably already know. It's the story of Bilbo Baggins's adventure, when he set off with thirteen dwarves and a wizard to recapture the Dwarven homeland from a rampaging dragon. The grand spectacle of scale that we saw in The Lord of the Rings is again present, but the focus is necessarily narrower. It is a tighter, more intimate story about dwarves trying to reclaim their home. As such, whenever the films departs from that narrow story, it suffers. And it does this often. Irruptions of story from the later trilogies muddle the movie, and ponderously bad dialogue (full of fart jokes, digressive asides, and a kind of tongue-in-cheek parody of Tolkien) dilutes the story of Bilbo and the Dwarves.
Interestingly, for a movie called The Hobbit, Bilbo is not actually the protagonist of this story. He is the viewpoint character, from whose eyes the audience receives the story, but Thorin Oakenshield is the actual protagonist. The company of Dwarves follows Thorin, Bilbo follows Thorin; Thorin is the only character with a tangible goal (it doesn't hurt that he's also a Dwarf prince): to reclaim his home. Bilbo has various motivations, but the story does not belong to Bilbo; it belongs to Thorin. This might be a relic from the book, but by disengaging Bilbo from the story, it made for a much weaker movie. Despite the pleasure of watching Martin Freeman on screen, he serves as a placeholder for the audience and does little more than amble along after the Dwarves.
Ultimately, I wonder what the point of this movie really is. Not having read the books, I'm left without the sense of wish-fulfillment that many fans have brought to the movie. These are not characters that I've been imagining since I was a child; nor is it a story I've treasured. It is simply a movie, and not a particularly compelling, or engaging one. It seems like Lord of the Rings 2.0, an excuse for Peter Jackson to put on the fuzzy hobbit-feet one more time.
So, if you're a fan of the books, I'm sure you'll love this movie and you don't need my recommendation to see it. If you've never read The Hobbit, I'd recommend you give this movie a pass. It's superfluous, muddled and not worth the price of admission.
It's hard separating this movie from the previous trilogy, and Jackson has done that on purpose, consciously building a prequel to the Lord of the Rings movies. Framing the story around an older Bilbo sitting down to write out the true story of his adventures, it sets it in the days immediately preceding the birthday/going-away party witnessed in the The Fellowship of the Ring. The juxtaposition between the two is jarring and creates an oddly reminiscent tone that will be touched on a few times in the movie. Indeed, much of the back story is told as tales within tales, or remembrances around a campfire.
The core of the story you probably already know. It's the story of Bilbo Baggins's adventure, when he set off with thirteen dwarves and a wizard to recapture the Dwarven homeland from a rampaging dragon. The grand spectacle of scale that we saw in The Lord of the Rings is again present, but the focus is necessarily narrower. It is a tighter, more intimate story about dwarves trying to reclaim their home. As such, whenever the films departs from that narrow story, it suffers. And it does this often. Irruptions of story from the later trilogies muddle the movie, and ponderously bad dialogue (full of fart jokes, digressive asides, and a kind of tongue-in-cheek parody of Tolkien) dilutes the story of Bilbo and the Dwarves.
The Real Protagonist |
Ultimately, I wonder what the point of this movie really is. Not having read the books, I'm left without the sense of wish-fulfillment that many fans have brought to the movie. These are not characters that I've been imagining since I was a child; nor is it a story I've treasured. It is simply a movie, and not a particularly compelling, or engaging one. It seems like Lord of the Rings 2.0, an excuse for Peter Jackson to put on the fuzzy hobbit-feet one more time.
So, if you're a fan of the books, I'm sure you'll love this movie and you don't need my recommendation to see it. If you've never read The Hobbit, I'd recommend you give this movie a pass. It's superfluous, muddled and not worth the price of admission.
Friday, December 14, 2012
Weekend Update!
Welcome to Friday. It's a big weekend, with The Hobbit opening in the United States to some serious acclaim and a lot of fan excitement. Although I plan to see it, I won't wait in line at midnight Thursday (about the time this post publishes, in point of fact). I waited in line for Fellowship, Two Towers and Return of the King. I've done my fair share of stomping in the cold with people dressed up like Gandolf, Legolas, and Aragorn.
While each of those experiences was fun, and I love the movies, I can't seem to find the energy to repeat it for The Hobbit. I suspect a lot of it has to do with the fact that I haven't read the book. A lot of people tell me The Hobbit is better story; stuff happens, and there's a dragon. Yeah, but G.R.R. Martin's Game of Thrones was supposed to have dragons, too, and so far it's a whole heaping load of boring. So dragons aren't big sellers for me. I also suspect that the dragon won't make much of an appearance until the third film.
Yeah, you read that right. The Hobbit is being released as a trilogy, which means another nine-hour epic watching people walk from one end of the world to the other. So while I might see this film this weekend, it'll be a matinee showing.
I am, however, more than a little excited for a couple of movies making an appearance in the next few weeks. Jack Reacher stars Tom Cruise as some sort of hard-as-iron ex-military police officer hunting down bad guys in New York. Not an altogether original concept, but the trailer makes it look good. Also, Les Miserables is coming out Christmas Day, along with Django Unchained (the D is silent). Les Mis is my favorite novel and I haven't seen the musical, but this looks good. Also, Tarantino is a pretty big draw, so Django is a no-brainer.
Keep an eye out for Zero Dark Thirty, which is being released December 21st.
In the world of books, despite declining numbers, sales bounced back in October, accounting for about ten percent of the 5% increase across all retail markets. It was recently pointed out that fourteen of the fifty top-grossing films are part of book series (Harry Potter, Lord of the Rings, Twilight and Hunger Games), generating hundreds of millions, to billions of dollars in U.S. box office revenue. This seems obvious in retrospect, but each of these series generated much of their revenue in large part based on the pre-existing fanbase that the books had garnered. Expect to see more page-to-screen hits in the future.
The New York Times is getting into the ebook business; DC has successfully rebooted its superhero universe; The Barnes &Noble boycott of physical DC books from its stores has ended; Publisher's Weekly released their top 10 books of 2012; and Tor recently released their Reviewers' Choice of 2012.
I recently heard about Naughty Dog's new release "The Last of Us." I'm a big fan of their previous games, including the Uncharted series so I was really excited to hear about this. It looks like a new post-apocalyptic zombie game, which I'm not a huge fan of, but I'm willing to give them a shot.
I'll leave you then with a trailer for another movie in which Tom Cruise plays a character named Jack.
While each of those experiences was fun, and I love the movies, I can't seem to find the energy to repeat it for The Hobbit. I suspect a lot of it has to do with the fact that I haven't read the book. A lot of people tell me The Hobbit is better story; stuff happens, and there's a dragon. Yeah, but G.R.R. Martin's Game of Thrones was supposed to have dragons, too, and so far it's a whole heaping load of boring. So dragons aren't big sellers for me. I also suspect that the dragon won't make much of an appearance until the third film.
Yeah, you read that right. The Hobbit is being released as a trilogy, which means another nine-hour epic watching people walk from one end of the world to the other. So while I might see this film this weekend, it'll be a matinee showing.
I am, however, more than a little excited for a couple of movies making an appearance in the next few weeks. Jack Reacher stars Tom Cruise as some sort of hard-as-iron ex-military police officer hunting down bad guys in New York. Not an altogether original concept, but the trailer makes it look good. Also, Les Miserables is coming out Christmas Day, along with Django Unchained (the D is silent). Les Mis is my favorite novel and I haven't seen the musical, but this looks good. Also, Tarantino is a pretty big draw, so Django is a no-brainer.
Keep an eye out for Zero Dark Thirty, which is being released December 21st.
In the world of books, despite declining numbers, sales bounced back in October, accounting for about ten percent of the 5% increase across all retail markets. It was recently pointed out that fourteen of the fifty top-grossing films are part of book series (Harry Potter, Lord of the Rings, Twilight and Hunger Games), generating hundreds of millions, to billions of dollars in U.S. box office revenue. This seems obvious in retrospect, but each of these series generated much of their revenue in large part based on the pre-existing fanbase that the books had garnered. Expect to see more page-to-screen hits in the future.
The New York Times is getting into the ebook business; DC has successfully rebooted its superhero universe; The Barnes &Noble boycott of physical DC books from its stores has ended; Publisher's Weekly released their top 10 books of 2012; and Tor recently released their Reviewers' Choice of 2012.
I recently heard about Naughty Dog's new release "The Last of Us." I'm a big fan of their previous games, including the Uncharted series so I was really excited to hear about this. It looks like a new post-apocalyptic zombie game, which I'm not a huge fan of, but I'm willing to give them a shot.
I'll leave you then with a trailer for another movie in which Tom Cruise plays a character named Jack.
Wednesday, December 12, 2012
Magic Zombies . . . Or, First Impressions of Game of Thrones
As some of you are aware, I've tried to read G.R.R Martin's Game of Thrones more than a couple times. This attempt marks my fifth go at it. I've already resolved that I will finish the first book. I've read Twilight to try to figure out just why it was so popular. I read Fifty Shades of Grey. I want to know why people enjoy some of these pieces of fiction. With Game of Thrones, at least, the storytelling is compelling, the writing is top-notch (-ish, which I'll get to) and everything about it should lead me to love it. All of my friends essentially swear by it. They love it. But something about it has never really grabbed hold of me.
I've read through the first hundred or so pages a couple times. More often, I stop about the end of the first Daenerys perspective. I suspect that what most people find innovative about Martin's work is exactly what puts me off. The quick perspective changes and lack of concrete physical detail feels not only choppy, but fails to embed me in the world in a compelling way. Sometimes, we talk about the learning curve of a book; how difficult the world, or magic-system, is learn. In Martin's book, I suspect, the world is not that different from our own. Based on the War of the Roses, Martin has lifted English history whole-cloth and dropped fantasy elements into it. As such, I don't need a lot of time to learn this world. Yes, some of the names are different, but not so different that I can't figure out what's going on.
More to the point, though, I think this book is too much like real life. I want my fantasy to be escapist. I don't want children to fall from roofs; I don't want to see a child sold by her brother as a sex slave in his machinations to reclaim power; I don't want to see a brother and sister get it on. All these things are facets of the "real" world. They aren't necessarily what I want to read in my fiction.
That being said, a lot of people really do love these books, so lets get into my impressions of the first couple chapters.
Prologue: Kind of an interesting premise. Wandering through the snow, jawing about how ominous it all feels. Then zombies show up. Yeah, I know that zombies weren't a big deal in 1996, when this was originally written and perhaps it isn't fair to judge Martin on current fads. But I can't help wonder why we need zombies in the first go-round. There are also a couple point-of-view slips where he slips from third to second person. They're minor but telling. Also, when one character withdraws his black gloved hand from his wound, we're told that it gleams red. I'm not sure about anyone else's blood, but mine usually isn't so obvious against a black background. Another minor thing, but it irritates me already.
Bran: The first chapter of the narrative actually ties into the prologue, in which the man whose death we did not see in the prologue is executed. We're left to assume that it's the same man, and maybe Martin will fill this in for me later, but with only minor physical details to draw that assumption, I'm left uncertain. That uncertainty left me feeling ambivalent about the whole thing. Oh, and look, wolf puppies, one (conveniently) for each of the children. Except this isn't any wolf, it's a direwolf, which is bigger and badder and somehow direr than regular wolves. Also, it's a bad omen. Okay. Interesting dynamic between the bastard kid and the "trueborn" children of Ned Stark (who I'm to assume is going to be our protagonist).
Catelyn: The best writing so far. The dichotomy between the (pardon the pun) starkness of the north and the vibrancy of the south is telling. Moreover, it begins an interesting discussion about the moral certainty of the north (black and white) between the shifting morality of the south (rainbow hued) demonstrates a sectional clash that I hope will be explored later. Regardless, it presents a picture of a world already rife with division. It's also a monotone world; so far, everything has been either, black, white (or some variant of "icy") or red. We know Martin can paint a picture--later he describes ivy in which "[moonlight] painted the leaves in shades of bone and silver . . . "--so his reliance upon primary colors is either intentional or just lazy.
Daenerys: The (very) young sister of the last Prince of Westeros, whose sexuality is to be sold to secure money and a foreign army. This isn't the first time in history that a woman has been used against her will: "A man should be able to do as he likes with his own chattel." Martin isn't out to make a historical argument. But I wonder why it's important that Daenerys be portrayed as a girl barely into adolescence. Is this the gritty reality we have to confront in this fantasy epic?
Musings of feminist theory aside, Martin lapses into primary color descriptions, using instance of red, yellow and green without hue. Except for the color of the two young noble's eyes (and Daenerys's dress) everything is flat and without gradation.
So far, I'm enjoying the book a little more than I have previously. I think the dichotomy between the monotones of the world itself and the subtle shades of moral gray already present is a fascinating take on a fantasy epic. I'll let you know how it's going as I read more.
Want to let me know what you think about Westeros and the Game of Thrones? Put them in the comments. But, please, no spoilers; this is my first go-round.
I've read through the first hundred or so pages a couple times. More often, I stop about the end of the first Daenerys perspective. I suspect that what most people find innovative about Martin's work is exactly what puts me off. The quick perspective changes and lack of concrete physical detail feels not only choppy, but fails to embed me in the world in a compelling way. Sometimes, we talk about the learning curve of a book; how difficult the world, or magic-system, is learn. In Martin's book, I suspect, the world is not that different from our own. Based on the War of the Roses, Martin has lifted English history whole-cloth and dropped fantasy elements into it. As such, I don't need a lot of time to learn this world. Yes, some of the names are different, but not so different that I can't figure out what's going on.
**SPOILERS AHEAD**
More to the point, though, I think this book is too much like real life. I want my fantasy to be escapist. I don't want children to fall from roofs; I don't want to see a child sold by her brother as a sex slave in his machinations to reclaim power; I don't want to see a brother and sister get it on. All these things are facets of the "real" world. They aren't necessarily what I want to read in my fiction.
That being said, a lot of people really do love these books, so lets get into my impressions of the first couple chapters.
Prologue: Kind of an interesting premise. Wandering through the snow, jawing about how ominous it all feels. Then zombies show up. Yeah, I know that zombies weren't a big deal in 1996, when this was originally written and perhaps it isn't fair to judge Martin on current fads. But I can't help wonder why we need zombies in the first go-round. There are also a couple point-of-view slips where he slips from third to second person. They're minor but telling. Also, when one character withdraws his black gloved hand from his wound, we're told that it gleams red. I'm not sure about anyone else's blood, but mine usually isn't so obvious against a black background. Another minor thing, but it irritates me already.
Bran: The first chapter of the narrative actually ties into the prologue, in which the man whose death we did not see in the prologue is executed. We're left to assume that it's the same man, and maybe Martin will fill this in for me later, but with only minor physical details to draw that assumption, I'm left uncertain. That uncertainty left me feeling ambivalent about the whole thing. Oh, and look, wolf puppies, one (conveniently) for each of the children. Except this isn't any wolf, it's a direwolf, which is bigger and badder and somehow direr than regular wolves. Also, it's a bad omen. Okay. Interesting dynamic between the bastard kid and the "trueborn" children of Ned Stark (who I'm to assume is going to be our protagonist).
Catelyn: The best writing so far. The dichotomy between the (pardon the pun) starkness of the north and the vibrancy of the south is telling. Moreover, it begins an interesting discussion about the moral certainty of the north (black and white) between the shifting morality of the south (rainbow hued) demonstrates a sectional clash that I hope will be explored later. Regardless, it presents a picture of a world already rife with division. It's also a monotone world; so far, everything has been either, black, white (or some variant of "icy") or red. We know Martin can paint a picture--later he describes ivy in which "[moonlight] painted the leaves in shades of bone and silver . . . "--so his reliance upon primary colors is either intentional or just lazy.
Daenerys: The (very) young sister of the last Prince of Westeros, whose sexuality is to be sold to secure money and a foreign army. This isn't the first time in history that a woman has been used against her will: "A man should be able to do as he likes with his own chattel." Martin isn't out to make a historical argument. But I wonder why it's important that Daenerys be portrayed as a girl barely into adolescence. Is this the gritty reality we have to confront in this fantasy epic?
Musings of feminist theory aside, Martin lapses into primary color descriptions, using instance of red, yellow and green without hue. Except for the color of the two young noble's eyes (and Daenerys's dress) everything is flat and without gradation.
So far, I'm enjoying the book a little more than I have previously. I think the dichotomy between the monotones of the world itself and the subtle shades of moral gray already present is a fascinating take on a fantasy epic. I'll let you know how it's going as I read more.
Want to let me know what you think about Westeros and the Game of Thrones? Put them in the comments. But, please, no spoilers; this is my first go-round.
Tuesday, December 11, 2012
December Update!
December is an interesting month. I don't mean just because of Christmas, the absurd dash to find the newest and shiniest toy, the cacophony of jingles, ballads and carols, and the faceless hordes that descend from the hills (so it seems) to clog up the stores and roads and Starbucks. I mean that December is a strange month because I'm home on break, trying to find seasonal work.
In the meanwhile, I'm catching up on television, movies, books and music that I've meant to enjoy but haven't had the time. So, hopefully, you'll see a few more reviews (of books, TV, and movies).
More importantly, it gives me time to work on writing. I know I should put my butt in my chair and my fingers on the keyboard all the time, and I won't make excuses. Regardless, this offers me a great opportunity to get some writing done.
To cap it all off, I'm finally going to read Game of Thrones. I've tried several times before, and I've never been able to get past the first hundred pages. But, I figure that if I can get through all these books for school then I can power my way through G.R.R. Martin's thinly veiled War of the Roses fantasy epic. As part of that, however, I've decided I'll also watch the Game of Thrones television series. Not only will I review each on their own merit, I think it would be interesting to see how the show meshes with the book.
Have any thoughts about books I should review this holiday? Shows I just have to see? Maybe a movie that I missed that deserves my attention. Let me know in the comments below.
In the meanwhile, I'm catching up on television, movies, books and music that I've meant to enjoy but haven't had the time. So, hopefully, you'll see a few more reviews (of books, TV, and movies).
More importantly, it gives me time to work on writing. I know I should put my butt in my chair and my fingers on the keyboard all the time, and I won't make excuses. Regardless, this offers me a great opportunity to get some writing done.
To cap it all off, I'm finally going to read Game of Thrones. I've tried several times before, and I've never been able to get past the first hundred pages. But, I figure that if I can get through all these books for school then I can power my way through G.R.R. Martin's thinly veiled War of the Roses fantasy epic. As part of that, however, I've decided I'll also watch the Game of Thrones television series. Not only will I review each on their own merit, I think it would be interesting to see how the show meshes with the book.
Have any thoughts about books I should review this holiday? Shows I just have to see? Maybe a movie that I missed that deserves my attention. Let me know in the comments below.
Monday, December 10, 2012
A Trailer Into Darkness . . . Or, The New Star Trek Teaser Trailer
With the release of the first teaser poster last week, interest in the new Star Trek movie has peaked. I'm not at all sure how I missed it, but over the weekend, the new trailer was also released. This blog isn't really designed to be a movie-speculation forum, so I'll just leave it without making much comment, except that I'm pretty sure Cummerbatch is not playing Khan.
Take a look and let me know what you think.
Take a look and let me know what you think.
Friday, December 7, 2012
Weekend Roundup!
First of all, there's a new Star Trek: Into Darkness poster up. You know the drill: Let's get excited! There's not a lot to go on; I've heard speculation that it's the Borg (please, God, no!), and if you zoom in on the poster you can see the devastated city is clearly London. How that ties in is anyone's guess, but after they destroyed San Francisco in the last one anything goes.
It also seems pretty clear that the central figure isn't Kirk. Chris Pine is many things, but brunette he certainly is not. So that leads me to suspect Cummerbatch; if that's the case, and we know he's set to play the villain, that makes me pretty sure the devastation has been wrought by Gary Mitchell, the rumored bad guy in this go-round. From the Original Series, we know that Gary Mitchell gained near-Q powers and would certainly make sense to see someone unsettled by the sudden acquisition of power go berserk on a major Earth city. So that's my speculation, what do you think?
This is pretty cool: Jonathan Strange & Mr. Norrell is set to be made into a BBC mini-series. The book, written by Susanna Clarke, still ranks in my Top 10 Fantasy Books List. It's up there with Name of the Wind, and The Farseer Trilogy (I know, trilogies shouldn't count as one entry, but in the genre of fantasy if I didn't include series as single entries there'd only be two [maybe three] on there.) That being said, I'm really excited about the mini-series. Tor.com has an interesting article on who should play each character; even though he's been just about everywhere, Benedict Cummerbatch would make a great Jonathan Strange, and Ian Holm would excel as Mr. Norrell.
The interwebs have been abuzz recently with an ongoing controversy surrounding sexism in the comic industry and nerdom in general. The basic argument is that women are under-represented and that rampant sexism denies their agency and objectifies them. Over at The Hawkeye Initiative, artists have recast Hawkeye in many of the provocative poses of female superheroes. io9 has a great article detailing some of the better entries.
Meanwhile, in movie news, Terminator is being remade, that creepy kid from Chronicle is playing Harry Osborn in the new Spiderman movie, and NASA is building a warp drive (okay, not really movie news, but hella awesome anyway.)
In book news, Dean Koontz signed onto a six-book deal with Random House, the self-publishing phenomenon Wool by Hugh Howey was picked up by 20th Century Fox, and Kenneth Calhoun's novel Black Moon was scooped from William Morris Endeavor by Crown's Hogarth imprint.
And here's the trailer for the forthcoming Les Miserables, this Christmas, which I'm really excited for:
It also seems pretty clear that the central figure isn't Kirk. Chris Pine is many things, but brunette he certainly is not. So that leads me to suspect Cummerbatch; if that's the case, and we know he's set to play the villain, that makes me pretty sure the devastation has been wrought by Gary Mitchell, the rumored bad guy in this go-round. From the Original Series, we know that Gary Mitchell gained near-Q powers and would certainly make sense to see someone unsettled by the sudden acquisition of power go berserk on a major Earth city. So that's my speculation, what do you think?
This is pretty cool: Jonathan Strange & Mr. Norrell is set to be made into a BBC mini-series. The book, written by Susanna Clarke, still ranks in my Top 10 Fantasy Books List. It's up there with Name of the Wind, and The Farseer Trilogy (I know, trilogies shouldn't count as one entry, but in the genre of fantasy if I didn't include series as single entries there'd only be two [maybe three] on there.) That being said, I'm really excited about the mini-series. Tor.com has an interesting article on who should play each character; even though he's been just about everywhere, Benedict Cummerbatch would make a great Jonathan Strange, and Ian Holm would excel as Mr. Norrell.
The interwebs have been abuzz recently with an ongoing controversy surrounding sexism in the comic industry and nerdom in general. The basic argument is that women are under-represented and that rampant sexism denies their agency and objectifies them. Over at The Hawkeye Initiative, artists have recast Hawkeye in many of the provocative poses of female superheroes. io9 has a great article detailing some of the better entries.
Meanwhile, in movie news, Terminator is being remade, that creepy kid from Chronicle is playing Harry Osborn in the new Spiderman movie, and NASA is building a warp drive (okay, not really movie news, but hella awesome anyway.)
In book news, Dean Koontz signed onto a six-book deal with Random House, the self-publishing phenomenon Wool by Hugh Howey was picked up by 20th Century Fox, and Kenneth Calhoun's novel Black Moon was scooped from William Morris Endeavor by Crown's Hogarth imprint.
And here's the trailer for the forthcoming Les Miserables, this Christmas, which I'm really excited for:
Thursday, December 6, 2012
Twilight of the Man Of Steel. . . Or, Deborah Eisenberg and Superman
By Steven McLain
The newest teaser poster for Zach Snyder's reboot of the Superman franchise, shows The Man of Steel bound in handcuffs, marched off by uniformed (American?) soldiers. Speculation abounds, and the hype has gone viral (I've already seen three different posts on my Facebook news feed in the last hour). What does it all mean?
That's the point of teaser trailers, teaser posters, and viral marketing in general. In an age where movies' budgets sometimes exceed the GDP of a third-world nation, producers are desperate to recoup their investment; these types of gimmicks generate the kind of buzz that accomplishes that.
What fascinates me about this particular poster, however, isn't necessarily Superman being accosted by agents of the government (we saw Superman tried by the jury of public opinion in the previous movie) but what that image represents. It reminds me, intriguingly, of Deborah Eisenberg's "Twilight of the Superheroes."
Originally published in a collection of short stories by the same name, "Twilight of the Superheroes" is a fractured story about 9/11. It begins with an intonation of myth and tribal storytelling: "The grandchildren approach." Then continues with the story of "The Miracle." Namely, that the world did not end in 2001. Some of us recall the Millennial fears that our technology would crumble beneath us; most of know that it did not. Nothing, in fact, happened.
What follows are quick snippets of time and place, a collage of moments that reveals the nature and character of the world before, during, and shortly after the Twin Towers fell. Her choices are telling: A segment about the scientific anecdote in which a frog will not jump from a pot of water that is slowly heated to boiling; a group of friends grown rich on Madison Avenue, on Wall Street, living it up in an age of dross; a superhero whose power is the ability to combat corporate evil through willed passivity (" . . . superpowers are probably a feature of youth . . . Or maybe they belonged to a loftier period of history.")
"Twilight of the Superheroes" is not about superheroes, per se. It's about the black and white world before and after the Towers fell. It's about the role of America in the world, the role of corporations in our lives, the strange, Manichean dichotomy in which we hold the world. Before, in a Cold War world we had a clearly proscribed them against whom to fight. Post 9/11 we have an equally clear threat, terrorism. The world between was a nebulous place, full of grays and shadows. It was a twilight world.
When the Towers fell, so did our conception of our place in the world. Our moral compass shifted. For a moment, our heroes lifted their capes to expose feet of clay and they were shattered. I wonder if that's what Snyder is doing with Superman in The Man of Steel. I've been thinking a lot about what it means to be a superhero, and what happens when the moral or philosophical code of a superhero doesn't mesh with those of the people they've chosen to protect. What happens when truth and justice are no longer the American way? Who will the superhero side with?
I hope that's what Snyder is trying to say with this movie, and that it's not just another Lex Luthor/Superman rumble in the jungle. Even if it is, the underlying ambiguity can still be maintained and encouraged; what does it mean when Lex Luthor, the ultimate representation of selfish interest, becomes the leader of the free world?
Superman's reaction, and his moral choices, could power this reboot in a way that we haven't seen in a long time, and would go a long way toward garnering the support and enthusiasm that Nolan has created for Batman. Ultimately, it would be nice to see DC as the thinking man's superhero franchise, as opposed to Marvel's spectacle-heavy treatment (superheroes for the masses).
The newest teaser poster for Zach Snyder's reboot of the Superman franchise, shows The Man of Steel bound in handcuffs, marched off by uniformed (American?) soldiers. Speculation abounds, and the hype has gone viral (I've already seen three different posts on my Facebook news feed in the last hour). What does it all mean?
That's the point of teaser trailers, teaser posters, and viral marketing in general. In an age where movies' budgets sometimes exceed the GDP of a third-world nation, producers are desperate to recoup their investment; these types of gimmicks generate the kind of buzz that accomplishes that.
What fascinates me about this particular poster, however, isn't necessarily Superman being accosted by agents of the government (we saw Superman tried by the jury of public opinion in the previous movie) but what that image represents. It reminds me, intriguingly, of Deborah Eisenberg's "Twilight of the Superheroes."
Originally published in a collection of short stories by the same name, "Twilight of the Superheroes" is a fractured story about 9/11. It begins with an intonation of myth and tribal storytelling: "The grandchildren approach." Then continues with the story of "The Miracle." Namely, that the world did not end in 2001. Some of us recall the Millennial fears that our technology would crumble beneath us; most of know that it did not. Nothing, in fact, happened.
What follows are quick snippets of time and place, a collage of moments that reveals the nature and character of the world before, during, and shortly after the Twin Towers fell. Her choices are telling: A segment about the scientific anecdote in which a frog will not jump from a pot of water that is slowly heated to boiling; a group of friends grown rich on Madison Avenue, on Wall Street, living it up in an age of dross; a superhero whose power is the ability to combat corporate evil through willed passivity (" . . . superpowers are probably a feature of youth . . . Or maybe they belonged to a loftier period of history.")
"Twilight of the Superheroes" is not about superheroes, per se. It's about the black and white world before and after the Towers fell. It's about the role of America in the world, the role of corporations in our lives, the strange, Manichean dichotomy in which we hold the world. Before, in a Cold War world we had a clearly proscribed them against whom to fight. Post 9/11 we have an equally clear threat, terrorism. The world between was a nebulous place, full of grays and shadows. It was a twilight world.
When the Towers fell, so did our conception of our place in the world. Our moral compass shifted. For a moment, our heroes lifted their capes to expose feet of clay and they were shattered. I wonder if that's what Snyder is doing with Superman in The Man of Steel. I've been thinking a lot about what it means to be a superhero, and what happens when the moral or philosophical code of a superhero doesn't mesh with those of the people they've chosen to protect. What happens when truth and justice are no longer the American way? Who will the superhero side with?
I hope that's what Snyder is trying to say with this movie, and that it's not just another Lex Luthor/Superman rumble in the jungle. Even if it is, the underlying ambiguity can still be maintained and encouraged; what does it mean when Lex Luthor, the ultimate representation of selfish interest, becomes the leader of the free world?
Superman's reaction, and his moral choices, could power this reboot in a way that we haven't seen in a long time, and would go a long way toward garnering the support and enthusiasm that Nolan has created for Batman. Ultimately, it would be nice to see DC as the thinking man's superhero franchise, as opposed to Marvel's spectacle-heavy treatment (superheroes for the masses).
Wednesday, December 5, 2012
A Memory of Light . . . Or, Has It Really Been 22 Years?
The final installment of the Wheel of Time is set to be released early January 2013. I'm astonished it's been so long. Wheel of Time has been a part of my life literally as long as I can remember. I remember seeing it on shelves as a child and marveling at it's length, and remember picking it up for the first time fresh off the high from Tad William's "Memory, Sorrow and Thorn" series. It is astonishing to see the series come to an end.
Here's a perspective from Brandon Sanderson, Harriet McDougal, Patrick Rothfuss and Tom Dougherty. With special guest appearance from Jason Denzel or Dragonmount.com.
Here's a perspective from Brandon Sanderson, Harriet McDougal, Patrick Rothfuss and Tom Dougherty. With special guest appearance from Jason Denzel or Dragonmount.com.
Tuesday, December 4, 2012
100th Post!
Milestones are important. They help us gauge where we've been and allow us the opportunity to estimate what we have left to do. Today is my 100th post, and I couldn't be more excited. Some of you have been with me the whole way, others are new to the gig. To everyone who saw that first post, on that first day, thanks for sticking by my side. To those who are just signing on, let me say thanks. You're part of what keeps me writing every day and I'm honored to have you along for the ride.
To celebrate my 100th post, here's a story for you all, fresh out of workshop. I'd love to hear your thoughts.
To celebrate my 100th post, here's a story for you all, fresh out of workshop. I'd love to hear your thoughts.
enduringamerica.com |
The Most Depressed Spy
By Steven McLain
His name was not Mohammad Khalil, of
course. His mother had named him Roger Kendrickson and refused to
speak Dari at home, even though his father sometimes lapsed when they
fought. His grandmother, however, simply folded her arms and
continued speaking her tribal tongue. She called him Khalo, just to
make his mother scowl.
He sat cross-legged on the linoleum in
the kitchen, his long arms folded over bony knees. His face was the
color of paper just beginning to curl beneath a flame. He
contemplated the apple in his hands. The sticker said Gala. It was
his favorite food and he liked to hold it, smell it, imagine the
crisp of it on his teeth.
For hours and hours while his
grandmother rolled out bread and puttered around the kitchen she
rambled about her mother, her husband, and the little goat that had
wandered around their village in Afghanistan when she had been a
child. She said it had little black spots and wicked eyes. It stood
on the stones where the madrasa had been and glared at her.
Then his mother came in and rebuked
his grandmother. Flour hung in the air. Sunlight came in through
the window and while his mother and grandmother fought he watched
motes of flour drift toward the floor. On the counter, a stainless
steel pasta machine gleamed. His grandmother slapped the counter;
flour puffed into the air and a wooden turner—what he mistakenly
called a spatula—slipped off the peeling laminate and clattered at
his feet.
“This is my home,” his mother
said. “He is my son.”
“And my son,” his grandmother said
in Dari, “is your husband. He will decide.”
His mother took his hand and lifted
him to his feet. He squirmed. It hurt his shoulder. “We're going
shopping, Roger.”
As his mother tugged him behind her,
his grandmother called out to him in her sibilant language: “Be
good, Khalo. Your mother is a witch.”
҉
Rising early, even before the sun had
thought to breech the horizon, Khalil unrolled his mat and laid it
out facing west, toward Mecca. The mountains were darker places on
the horizon, where the stars didn't shine. Cold air from the north
settled over the plain and made his breath plume with every murmured
prayer. When he finished, he rolled up the mat, tucked it under the
rusting cot and slowly laced his shoes. He ached today. He thought
it was the cold, but perhaps it was the climb yesterday, and the
heavy pack he had borne.
In the darkness, he saw a slow,
blinking red light. He stared at it for a moment, certain that, like
a screaming infant, if he left it alone long enough it would simply
stop. After several minutes, he groaned to his feet.
“Five-seven-alpha,” he said into
the small radio handset.
“Please repeat your status,” a
voice crackled back in English.
He was alone in the room, but he
glanced toward the doorway and the wind-ruffled carpet dangling from
the threshold. The night leaked in around the edges. Switching to
English he said, “Five-seven-alpha.”
“Standby.”
Sighing seemed to be the natural
response. Yet, for all its release, he knew it was a useless sort of
reaction; a tantrum for those too dignified to throw tantrums, yet no
different in spirit. So he went to the corner where a small bookcase
waited to collapse. Most of the books on it were real, copies of
Western classics translated into Dari when such things were
permitted. Inside one of the books were copies of The Project for
Islamic Cooperation for a Peaceful Future in Afghanistan.
If anyone from the village discovered them he might be jailed or
beaten. But either option was better than if they discovered the
small niche beneath the bookshelf.
His thumbprint
opened the small lock box. Inside: several stacks of bills of
various currencies, three ounces of gold bars, and a laminated map of
the country. He took the map, closed the box and pushed the bookcase
back in place. The radio crackled on the desk.
After they
exchanged security pass phrases, the voice over the radio gave him
two names and a set of coordinates. He checked them against his map,
and, once he was satisfied, folded it into his tunic and turned off
the radio.
҉
For a time, all
they asked of Khalil was information. He came down from his shack a
few times a week, sat at a cafƩ and listened while old men and young
men gesticulated over little porcelain cups of vicious coffee.
Khalil never really acquired the taste for it, but he sipped
dutifully. The shop across the way traded gold and sold trinkets of
dubious antiquity. Sometimes Afghan soldiers came in clumps of two
or three and wandered through the market. Khalil was especially good
at seeming just interested enough that they would speak freely, but
not so interested that they became suspicious.
Then once a week
he spoke with the voice over the radio, and that was that.
҉
Two men, Khalo was
not sure who they were, came to their home and spoke with Khalo's
father. They seemed to be police, but wore black suits with gold
piping, epaulettes and a badge, so unlike the blue military cut he
was used to seeing in front of school. For a time there was silence
between the three men, but eventually they all stood and the men
left. Khalo's father sank into his seat and looked around the room,
though he seemed not to see anything.
Khalo went to the
foyer and pressed his face against the mottled glass beside the door.
He saw the men-like smudges through the window. He wasn't sure if
it was a police car or not. The spot where his mother normally
parked was empty.
He went back to
his father. “When will mother be home?”
҉
Khalo put his head
down and tried to ignore the three older boys walking up the aisle of
the bus. Older meant bigger, and he was small anyway. His father
told him it was better to be small; it meant that no one would notice
you. But children do not think the same way as fathers, and the
three boys stopped in front of his seat. Khalo was in the back of
the bus, on the long bench that stretched from side to side. He'd
already been waiting twenty minutes for the rest of the classes to
get out.
The three older
boys wore vinyl backpacks with Batman, Spiderman and Superman on
them, and the boy in front had on brand new Nike shoes. He crossed
his arms over his chest.
“Sixth-graders
sit in the front.”
Khalo looked over
his shoulder at Mrs. Calloway, the bus driver, hoping she would
intervene. She was bent over the wheel, stretched out to reach the
lever that opened the doors, and intent on everyone getting on the
bus. She didn't even glance back.
His
father said, It is better, being small, Khalo. When you
are small they tell you that you are to go to madrasa instead of
going to fight the invaders. They tell you that you should carry a
Quran instead of a gun. His
mother said, Don't call him Khalo. To
which his father replied, taking off his glasses to look his son in
the eyes, He is old enough to make certain decisions.
The
three boys were American, though. None of them cared about the
Quran, and there were no invaders to expel. None except for the
sixth grader sitting in the back of the bus.
҉
Khalil
saw the drone strike from perhaps two miles away, as he trudged back
to his shack. He never heard the drone, or the missile, but suddenly
the day became divided. There was now a before and
an after. The flash
was barely more than a twinkle in the corner of his eye, the kind
that sometimes occurred in the dark before sleep. A plume of smoke
drifted up from just beyond the village. Then he heard the
explosion. It was as loud as a man clapping beside him.
҉
For a moment,
Khalo considered getting up, but that felt like retreat to him. It
felt like running away. When she ranted in the kitchen, his
grandmother sometimes said that his father had run away, that he had
forsaken his family, his tribe. She called him a coward. Besides,
if he stood he would have to push through the three boys, and he knew
they would not let him go unchallenged. Whatever Americans knew of
honor demanded they punish this insolence.
Before the boy in
front could react, Khalo kicked him in the balls. The boy's eyes
bugged out, he let out a challenged gasp, then sank to his knees and
vomited on the other boy's shoes. Khalo leapt from the seat before
either of his friends could react. He slammed into one, driving him
to the ground. Khalo balled his fists and pounded the boy's face.
He thought the boy's face should feel like a melon, that semi-rigid
tension of a honeydew or cantaloupe. Instead, it was like a
volleyball pumped with too much air. Until the nose broke. Then it
was like pounding something nauseatingly giving.
He brought his
hands up and down in a frenzied rhythm that ended abruptly as he was
lifted and thrown back. It was the third boy, who hefted him off and
tossed him aside. Khalo hit a bench seat and flopped to the ground,
and struggled with the weight of his backpack. He launched himself
at the third boy, but something hard yanked him back.
Khalo screamed.
He thrashed but the grip was unrelenting. Mrs. Calloway had him by
the backpack, and her eyes were saucers and her mouth was perched
open in a round, scarlet-lipsticked O of astonishment. He spat out a
word in Dari that he never would have said in English, which he had
heard his mother call his grandmother before slapping her across the
face. It was a dirty, low word, she later told him, and he should
never call someone that. But Mrs. Calloway held him back, and that
made her low and dirty.
She dragged him
off the bus and deposited him in the school office.
His father came
and spoke with the principal while Khalo waited in the hallway in a
chair they had brought out from the kindergarten classroom. It was
too small and was sticky with residual Elmer's glue. Inside, Khalo
heard the stern words of the principal, and the meek words of his
father. When the door opened, his father looked small and sad.
Khalo scooped up his backpack and shuffled after his father.
҉
In Kabul, two days
after he had arrived in country, Khalil hunched over his coffee. A
boy stood in the market with a soccer ball that a Dutch soldier had
given him. The lettering had worn off, and most of the black
octagons were scratched away, but the boy had his arms wrapped around
it. The boy either wore long shorts or short trousers; in either
case, they were tattered and soiled. Even the boy looked tattered.
His hair might have been umber, but it was so matted with clayey dirt
that it had no particular color. Khalil and the boy looked at one
another from across the street, and Khalil was unsure why their gazes
had met, but when the boy looked at him Khalil smiled.
Khalil
heard the truck, something massive, with a shuddering growl that
echoed miles away. He could not say why, but the sound made him
think of inevitability. As though this was what glaciers and empires
and history sounded like. Someone once said that history was
the unfolding of Spirit in time. Across the street the boy suddenly
grinned. Khalil turned to see what had amused him.
The truck turned a corner. It was
dark and shiny and had tinted windows. Khalil tried to shout for the
boy to move. It struck and killed the boy and did not stop.
Khalil wondered, while the boy
struggled to right himself, though half his brain lay in the dirt,
what Spirit had unfolded in this time.
҉
Khalo and his
father drove home in silence until his father stopped at a red light.
The glare from the streetlamps filled out concentric circles on the
windshield where rain had fallen. Then the windshield wipers swatted
them away.
At last, when
Khalo began to fear that his father would never say anything to him
again, his father asked,
“Did those boys deserve what you have done
to them?”
“I don't know.”
Khalo's father hit
him. In the narrow confines of the car, the sound of the slap
resounded. The sting of it seemed to take an eternity to reverberate
through his cheek, up the side of his jaw, along the curve of his ear
and then into his brain.
“How can you say
to me you do not know? Do you know what you have done? They will
take my green card, they will say to me that we are not welcome here
anymore, that we must go. And they will say this because of you.”
A tear which he
was powerless to stop spilled onto his shirt front. His father
slapped him again. Then a third time. As the ringing turned to a
roar in his ear, the light turned green, and his father turned to put
both hands on the steering wheel.
“They have said
you must go to a new school. To do that, we must move. How can I
move and keep my job?”
“I'm sorry,
papa.”
Khalo's father
deflated and gripped the steering wheel harder. “Not yet you are
not.”
҉
Khalil packed what
he needed into an old Soviet rucksack that had been stitched with
goat hide and silk thread. Cyrillic letters on the bottom identified
the first owner of the bag, and a blood stain marked where the bullet
had gone through. Khalil had found it in the shack when he first
moved in. He told himself that he kept it as a reminder; when
Americans saw it they chuckled as thought it meant something ironic.
But as he stuffed it with canned beans, a box of grease-packed
Chinese cartridges, binoculars, rope, a roll of duct tape that had
been flattened into an oval, and his prayer mat, he decided that he
could not remember what it reminded him of. He thought, perhaps,
that all things changed hands in the end. That seemed like a
platitude, though, and he was not one for such things.
By the time the
sun had risen over the mountains, he had been on his way an hour.
The closest village was another half an hour, and the road was empty.
It had been paved once, when Soviet convoys fueled the drive into
the mountains. The scars of that war had been replaced by other
scars, but the road still felt foreign to him.
In school, he
learned about Roman roads. His teacher told him that Rome conquered
the world because of their roads. They allowed armies to move
quickly; but more importantly, they allowed money to flow all over
the empire. American roads reminded him of Roman roads. Arrow
straight from point A to point B. Soviet roads, however, felt like
the beaten paths of goats in the mountains. They meandered,
inexplicably, between hills, over rivers, clinging to the side of a
canyon, never seeming to go anywhere until they were suddenly
somewhere, a village or outpost or forgotten Mughal ruin.
After an hour of
walking, he got off the road and followed a path over a dusty
hummock. The sky felt close. Cold wind blew in from the north,
sweeping great eddies of dust and pebbles with it. Scrub clung in
checkered pockets where soil accumulated between stones or in the lee
of boulders. Goats wandered, a dog yelped in the distance, and two
men with faces as brown as the mountains leaned on crooks and
watched him go by.
He arrived at a
small building heaped from the earth, constructed on an old, stone
foundation. A Land Rover and black Expedition sat out front. The
English used the building as a trading outpost in the nineteenth
century; during the twentieth it had been used to store poppy. Now,
it had been re-purposed as a way station for Americans and British
nationals. Two men in dusty grunge watched him approach. Bulky with
ammunition, weapons, radios and other, more esoteric gear, they
looked ready to stop him at the door, then decided otherwise and
radioed ahead. Khalil thought he saw someone in the Land Rover, but
couldn't be sure.
҉
The
difference between murder and assassination is a matter of degrees.
You murder a man you hate; you assassinate a man you oppose. Khalil
neither hated, nor opposed, the two men bound and gagged in the back
of the battered pickup. Cold night air whistled through the
passenger window; it wouldn't close and the heater didn't work so
Khalil tried to make himself smaller in an old, wool sweater. Ahead,
the moon had just appeared over a hunchbacked mountain range.
In the
back, Gibran Khan knelt over the two men and kept them quiet with an
ominous look and the threat of the rifle resting on his knees. His
long, dark beard curled around his mouth, and he had pulled his scarf
across his nose and mouth so that only his eyes showed. They were
muddy and red-rimmed from poppy smoke. He seemed twice as big as
Khalil. Khalil knew nothing about him. But what he did know was
that Gibran Khan was not his name, either.
Khalil
knocked on the door to get Gibran Khan's attention. The much larger
man leaned into the cab, his scarf flapping like a banner behind him.
“Have
you ever seen From Russia With Love?”
Khalil shouted over the wind.
Gibran
Khan glared at him and withdrew back into the truck bed.
The
truck shifted uneasily on the rotted road, and they had to backtrack
to cross a bridge that had washed out. Twice, Khalil thought he saw
headlights in the distance, so they stopped to wait while the truck
croaked as it idled. Further up the hills, they passed a poppy field
and the low, mud buildings where children and bare-faced women slept.
Rocks slipped under the truck's tires as Khalil feathered the
accelerator and pounded at the gear shift. At last, they came to a
narrow outcropping that overlooked a dark canyon. The truck's lights
bored holes in the dark but revealed nothing.
Gibran
Khan took the men from the back of the truck and walked them to the
edge of the overlook. The men sagged in their bonds. Blood ran from
open wounds, pus from the burns which seared their hands, feet and
testicles. Khalil didn't envy them the relief that must have warred
in their hearts. He saw in their eyes a kind of battle between pain
and the hope that it might end. A woman who once caressed Khalil in
the dark said that torture was the unmaking of the world.
“These
men's worlds have been unmade,” Khalil said to Gibran Khan as the
night insects droned in the bitter air.
҉
With a last glance
at the Land Rover, Khalil ducked into the building and let his eyes
adjust to the gloom. Opium smoke curled along the mud-daubed
rafters. Two men in Afghan army uniforms eyed him from a table
across the room then went back to their cards. A small boy came to
offer pirated DVDs and condoms.
Khalil eyed the
crisp gold packaging doubtfully. “What are the condoms for?”
“Girls, man,
girls. I got three in the back. You want one only twenty dollars.
And she'll do anything.”
Before Khalil
could answer, an American in dusty khakis shoved past the boy and
took Khalil by the arm. His name was Edward Burke, and this was the
third time they had met. He dragged Khalil to the back of the room,
where the smoke wasn't as thick, and kicked out a chair for Khalil
before he took one for himself. Khalil slowly sat while the American
shouted for a drink.
The man was very
tall, even for an American, with the sort of butchered haircut and
motley beard Khalil had come to expect from special operatives.
Khalil suspected that they equated unkemptness with a kind of
prestige, or thought it would inspire some measure of solidarity from
the warlords to whom they pandered. He imagined they could not even
conceive of the secret contempt in which they were held, even as they
were feared as one fears a temperamental lion.
A younger boy
brought coffee on a tarnished platter and started to serve both men
until Burke shooed him away. The American nodded toward the older
boy peddling condoms to the Afghan soldiers. “The kid's a shit.”
He sipped from the small porcelain cup. “But I guess vices have
moved on here.”
Khalil glanced at
the man curled round his pipe. “Addictions are a singular thing.”
“Goddamn.
Sometimes I forget how good your English is.”
Khalil tried to
measure his response. “I was told I'd be meeting two people.”
He leaned into his
radio. “Mercer, you mind coming in here.”
They waited. The
American smiled. A bead of sweat ran down the small of Khalil's
back. When Mercer came in, Khalil felt a thrill of shock and
something else. Something both primal and electric between his legs.
He tried to cover his shame by looking away, but looking away would
be perceived as rude. So he rose to his feet and shook her hand when
Mercer offered it.
Her hand was soft.
“I'm Andrea Mercer. I've been given the details of your operation
and will brief you before your infiltration.”
They sat and
Khalil nodded slowly, unwilling to say anything that would reveal how
unsettled she made him. It had been years since he'd seen a woman so
exposed. He shifted in his seat.
Burke chuckled.
“Our boy's shy.”
Mercer tried to
console him with a smile, but it came across as condescending.
“Please forgive me, I'd been told you were acculturated to Western
norms. It's just been so hot I didn't want to wear it out here.”
She reached into her bag for a gossamer niqab.
“No, no,” he
said, reaching to stop her. “Please forgive me. It is good to be
reminded why I'm here.”
Burke harrumphed.
Mercer gave each man a brief nod, then reached into her bag for a
small packet wrapped in plastic wrap. Khalil took it and weighed it
in his hands. He cocked an eyebrow.
“I know,”
Mercer said. “We don't have as much on this one as we'd like.
That's why we're having you go in. You're to assess the situation on
the ground, determine the threat, and act appropriately.”
The packet
contained a map, and several aerial photographs taken by drone with
red arrows pinpointing locations.
“Even though we
don't have a lot,” Mercer continued, “what we have is pretty
solid. They've been gathering with known insurgents and have strong
ties to local warlords. Two weeks ago we spotted them moving with
rebel forces around Jalalabad. We think they're part of a network
moving weapons in from Pakistan. Including Russian Series Two
missiles.”
Burke pantomimed
an explosion. “Boom. Fucking drone-killers.”
Khalil flipped
through the photographs. “All right.” He stopped when he came
to the photographs of the men he might have to kill. “They're only
children.”
҉
Khalo stood
silently at the front of the church while old women and men he'd
never met streamed past him in a blur of Kleenex and black veils.
Waxy flowers surrounded the coffin and they stank like mold and
tropical diseases. A priest stood at the front with a crucifix and
offered comforting smiles to the viewers as they paraded in front of
the casket. There was a woman inside that they looked at and wept
over.
His father sat
beside him in a black suit that pinched across his chest. He stared
at his hands, clasped together in his lap, as though he was unsure
what they were for. Sometimes he drew in awkward gasps and let them
out in great heaves, but Khalo saw no tears in his eyes. Even his
grandmother was silent, but he saw her judging each person as they
walked by; they could not see her judgment, but Khalo saw how her
veil puffed out, how her head tilted down, how she sometimes
half-turned her head away from an approaching woman as though she
smelled something unpleasant.
A man Khalo's
father knew from mosque paid his respects with a silent prayer. When
their eyes met, Khalo's father seemed ashamed.
Khalo
heard them muttering behind the church, It was a civil
ceremony. She wouldn't convert.
When
they arrived home after the burial, the kitchen table had been
stacked with a casserole, two lasagnas, a spiral-cut ham, bunt cake
in a disposable tin, a relish tray, manicotti in a Pyrex dish, and
lamb chops. Cousins arrived and sprinted through the living room
into the kitchen, a grandmother Khalo had never met organized two
aunts and a fat uncle into house-cleaning details. Khalo wondered
where these people had been all his life.
Two days later
everyone had gone. The only evidence of their stay was the casserole
dish that no one claimed.
҉
Khalil took an
apple from his rucksack and held it out to the man sitting across
from him in the back of the old pickup. The truck swayed and bucked
with every rut in the road, but the engine sounded good. The man
driving had big hands and a quick smile; he had shown Khalil where
Afghan intelligence forces had attached electrical leads to his hands
and feet. The burns still wept.
The man across
from Khalil was wedged between his two brothers and smelled like
sweat and goat. His narrow eyes were crowded beneath mossy eyebrows,
and Khalil had never seen him smile. His brothers were both younger,
and one had a Chinese AK-47 balanced on his knees. Khalil had
labeled the two younger ones “skinny” and “short.” The older
brother in the middle was “morose.” But he took the apple and
split it three ways with his brothers. He bowed his head in thanks.
They arrived in a
village about twenty kilometers past the old British outpost where
Khalil had received his target dossier. At the outskirts of the
village, a pair of women stared at him behind their sky-blue burqas.
A pall of smoke hung in the air, and beneath it something sweet and
insidious. He covered his mouth and nose with his scarf.
They stopped in
front of a semi-collapsed building whose three remaining walls sagged
inward. The driver slapped the door three times. The three brothers
climbed out. Khalil watched them disappear into the building, then
he hopped down.
“Thank you,”
he told the driver.
“God be with
you,” the driver said.
“And with you.”
A quick plume of
blue exhaust and russet dust billowed behind him.
After the truck
had disappeared, two men came out from a building across the street.
Of the thirty or so buildings in the village, nearly half had
collapsed. Rubble lay strewn across the street, bone-white where
stones had cracked open. He saw blood stains throughout the debris.
The two men parted
a few steps from the building, but flanked him about twenty yards
apart. He thought he saw movement from the doorway and then the
outline of a rifle barrel.
One of the men
pointed toward the sky, then at the collapsed buildings. “If they
see more than three men gathering, they think we are plotting against
them. I would offer your welcome, but as you can see, there is none
to be had.”
He tried to ignore
the rifle. Since they hadn't already shot him he doubted they would.
But still. “My name is Khalil. I'm just trying to get to
Jalalabad.”
The two men eyed
one another, then glanced toward the building. “Lift up your
feet.”
Khalil lifted his
leg, showing him the fraying leather sandals.
“They think you
are an American spy,” the man said. “But Americans always wear
boots. Take some water from the well but please be gone when the
next bus arrives.”
“I thank you.”
҉
Khalo's
father's favorite movie was From Russia With Love.
In the kitchen, his father paused to look at the empty casserole
dish. Khalo watched him take a beer from the fridge, crack it open,
and drop into his armchair. He held the remote in his hand pointed
at the television, caught in the moment between turning the
television on or leaving it off. The moment in which the screen
remained dark lingered. Khalo's father's shoulders trembled, and the
television slowly bloomed with color and motion.
Khalo stood
outside in the hall, peeking around the corner. Sometimes his father
chuckled, but most of the time he remained silent. Khalo suspected
that his father knew he was there, but said nothing. Khalo's
grandmother was in the kitchen nattering to herself. Despite the
television and the distant muttering, the house was strangely silent.
Khalo listened to the soft groaning of the house, the distant sighs
and glacial murmurs. Wind blew outside and rain pattered against the
sliding-door. He could see the old oak in the back yard, and the
fence with the missing slat where the neighbor's rottweiler had tried
to force its way through. The dog was dead now, but the hole
remained.
He laid down in
the middle of the hall to watch the movie; the carpet was rough
against his cheek and smelled like the old clothes in the back of his
closet.
His grandmother
suddenly stood over him. Khalo hadn't heard her approach. She said
nothing, but picked him up and walked him to the kitchen. His father
glanced over the chair's shoulder but before he could follow she
shooed him away with a glance. She held out a chair for him and took
out a package of Oreo cookies from the cabinet, a treat his mother
had rarely allowed. She gave him three and sat across from him.
“Your mother was
a wicked woman, Khalo. That is why you have shamed your father; some
of her wickedness is now in you.”
Khalo held an Oreo
in both hands and sucked the chocolate cookie until it disintegrated
in his mouth. Not even his father interrupted his grandmother, but
he thought he ought to defend his mother somehow. But all he could
manage was the slow shake of his head.
“She was,” his
grandmother said. “I knew that she had bewitched your father when
he came to me with you in her whore's belly and told me they were to
be married.” His grandmother slowly sighed. She kneaded a swollen
knuckle with the ball of her thumb. He could see the serpentine
veins in her hand, behind paper-thin skin and soft flesh. “I said
no, but your mother had twisted his mind so much that he could not
hear the wisdom in what I said.”
Khalo's voice was
almost a whisper. “I don't want you to talk about my mother like
that.”
She nodded, as
though she had expected a response like that. “First, we will try
to beat it out of you.”
҉
On the road
leading into Jalalabad, Khalil met an old Pakistani woman and her
husband guiding a small wooden cart. The old man was nearly bent in
half over the reigns, clucking gently. He had no teeth, and his face
looked like it had imploded with nothing to support his lips. The
whites of his eyes had gone yellow, and his face was the color and
texture of used coffee grounds. His wife walked beside, hopping with
shuffled steps. Her burqa was a darker shade of blue than Khalil was
used to, and her eyes were as kohl-lined as a Saudi's.
A breeze ruffled
his hair; an anemic sun worked at the high clouds speckling the sky.
Khalil shuffled alongside them, keeping a pleasant distance so that
they could get used to his presence. From there, he could see inside
the cart; it was laden with DayGlo orange buckets and old MRE boxes
full of leafy produce, paper sachets twisted at the top and dusted
with paprika and cinnamon. The same spices over which five hundred
years ago empires had gone to war.
Eventually, the
old woman slapped her husband's knee and pointed back at Khalil. He
made himself small, harmless. The old man sighed and shouted.
Khalil's Pashto was broken, at best, but he tried his best to make
himself understood. Grunting, the old man switched through Mandarin,
Russian, and a language Khalil could not even guess at faster than
Khalil could keep up. Finally Khalil said, “English?” and the
old man nodded.
“You are
American?”
Khalil shook his
head.
“An American
saved our life once,” the old woman said, surprising Khalil.
Khalil looked up at the old man, expecting a rebuke, but he remained
bent over and said nothing. “But then the bombs came.” She
sighed.
Khalil told them
that he was on his way to visit cousins. He waved his hand generally
to indicate the lumpen mountains and the less distant scarlet stains
of poppy fields. The old man said nothing, but the woman stopped and
let the cart go a few paces before she started again. When she'd
caught up with them, she waved Khalil away. “Go, go.” Then she
lapsed into Pashto and waved a finger in his face.
Pausing in the
middle of the road, he let the cart pass him by, then looked into the
dominating bowl of sky and wondered where the terrifying speck was.
҉
When
Khalo came back to school, girls stayed away from him and the boys
dared him to approach. They crossed their arms and glared, but when
teachers saw the small clumps gathering in corners they steered the
young toughs back to their desks. Khalo walked alone through the
hallways and covered the narrow, inflamed bruises on his arms with a
maroon jacket.
Mr.
Reed was the school counselor. He wore jeans two inches too tight,
so that his gut dangled over the waistline. He stopped Khalo in the
hall and neither bent nor lowered himself to Khalo's height; what he
did was curl his back so that he seemed to be the personification of
a question mark. He asked if Khalo was all right. Of course, he
said, losing a parent would make anyone act out.
Khalo
considered. He remembered the moment when he had broken the boy's
nose, remembered the sour vomit on the ground and how the boy whose
testicles he'd crushed had made a sound like water draining out of a
tub. That instant was like an idea unfolding in his memory, but the
part of him that was him was absent. He doubted he had been upset
about his mother just then.
“I'd
rather have been left alone,” he told his counselor, who eyed him
for a moment.
Sure,
sure, Khalo. Sure, sure.
“I
think,” Khalo said. “I'd rather be called Roger from now on.”
***
As always, the work posted above is copyright Steven McLain 2012. Reproduction without written permission of the author is strictly prohibited.
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