March 2011

SF/F Commentary

Poll Results (Plus Another Question): Which age of science fiction is your favorite?

The results are in.  Here’s how you all voted: 10% said “the Pulps” 30% said “the Golden Age” 0% said “the New Wave” 20% said “Cyberpunk” 40% said “Contemporary” I’m rather shocked by these results.  The science fiction community presents itself as having some kind of love affair with the New Wave, yet nobody voted for it in my poll.  Does that say something about the kinds of readers I have?  I don’t know.  Maybe.  I suppose that really depends on what we include in the last category, which had the most votes.  If contemporary SF includes work that takes its influences straight from the New Wave (and that’s what 40% of you were thinking at the time), then it all makes sense.  I know that’s how I was thinking of the term. Now I have another question, which I can’t put in poll format:  which book in your favorite “age” is your favorite and why?  Let me know in the comments! A new poll will be up later today.

SF/F Commentary

In Defense of Signs (That Shyamalan Alien Invasion Flick)

Every few months someone says something to the effect of:  “Signs is such a dumb movie.  Why would aliens invade a planet covered in stuff they’re allergic to?”  Why, indeed.  John Scalzi is the latest in a sea of Signs haters.  In a recent AMC column, Scalzi talked about the numerous alien invasion movies we’ve seen over the last few decades and gave each a grade on the A to F scale.  He had this to say about Signs: Really, aliens? You invade a planet that is made up of stuff that can melt flesh off your bones? You deserve to be defeated by Joaquin Phoenix and a baseball bat. Stupidest invasion ever. Invasion score: F Well, actually, it’s not that stupid after all.  There are two reasons for this:  1) habitable planets are not as common or as easy to get to as we would like, and 2) humans, who consider themselves to be intelligent creatures, routinely invade or inhabit lands that present serious challenges to our well being.  I’ll expand these two points below: I. Habitable Planets There may be billions of habitable planets out there, but we also have to remember that those planets are far away from one another.  Even an intelligent species with technology far surpassing ours would have trouble traveling between the stars.  Their access to other habitable worlds, then, would be severely limited.  They might have a few hundred to work with in a reasonable amount of time (even if they do happen to have FTL drives). With this limitation on an “empire,” it’s not unrealistic for aliens to shrug off the dangers of a world covered in materials they are allergic to — water — in an attempt to grab resources they can use — land, metals, fuel, air, and so on.  Earth may not be an ideal target for the aliens of Signs, but it is certainly the result of limited options.  If you need more space to inhabit, then you’re going to go where such things are available.  Humans do this all the time.  We live in deserts and places where it gets so cold we have to cover ourselves in layers and layers of clothes.  We’ll get back to that in a minute.  For now, on to point two. II.  Humans Are Dumbasses Too How many nations have tried to invade Afghanistan?  Enough that people look at U.S. attempts to conquer the nation and see pending failure.  All kinds of countries have invaded other countries and quickly found themselves on the losing end because the “enemy” proved to be more formidable than originally thought or was smart enough to use the terrain to their advantage.  In the case of Signs, we can assume that humans figured out the aliens were allergic to water pretty quick and started loading up fire engines and sending civilians to lakes and rivers with super soakers and water balloons.  The fact that none of this was in the movie is a separate issue from the criticisms about water allergies. It’s also worth noting that the aliens are not deathly allergic to water.  Some people assume that they are because the one alien in the movie gets killed more or less by water, but remember that he was hit with quite a bit of the stuff.  One glass or two weren’t involved.  Dozens of glasses of water were sprayed all over his body.  This would be like getting stung by hundreds of bees, which would kill most humans anyway.  Yet, remarkably, we still live in all kinds of places where bees and other stinging/biting/spraying creatures are prevalent, and even where dangerous and aggressive bees (i.e., Africanized bees) have made their homes.  To be fair, we created the Africanized bee, which is now “colonizing” northwards; the aliens in Signs were working in the opposite direction.  Regardless, the fact still stands that humans are not all that smart either. But on to my third point! III. Maybe It’s in the Clothes While many people have criticized Signs for the fact that the aliens invaded a planet full of stuff they’re allergic to, few have actually talked about the issue of dress.  The problem, as it appears to me, isn’t that the aliens are allergic to water; it’s that they came to Earth dressed for the wrong occasion.  There may be a lot of interesting (though not necessarily good) reasons for this, but none of them are present in the film.  It’s possible the aliens have no sense of nakedness, which would align them more with “the animals” than it would with humanity, but this seems to me to be a somewhat absurd argument to make precisely because they do have some understanding of survival in hostile environments (i.e., they have spaceships, which protect them from the vacuum of space). The question, then, is this:  why don’t the aliens in Signs wear something approaching a protective covering?  Whether this be in the form of armor or some kind of special wet suit, you’d think these creatures, who have the ability to travel great distances in what seems to be a reasonable amount of time, would have developed something to protect them, at least temporarily (during battle), from materials they are allergic to.  This logic would also prevent the immediate revelation that they are allergic to water, which would give the aliens more time to secure themselves on Earth and strategically take down our defenses and leadership.  But they don’t wear protective covering at all.  Why?  I would hazard to guess that they don’t because they intend to mount an immediate and swift attack on our infrastructure — a fact that is also believed by the characters in Signs.  Doing so in armor might present challenges.  But there is so little that we actually do know about the aliens that it’s hard to say what kind of logic they were operating on. And that’s really the crux of it:  Signs never was a film about an alien invasion.  Not really.

SF/F Commentary

The Skiffy and Fanty Show #2.9 is Live! (Colonialism and Science Fiction)

The latest episode of SandF has a lot to do with some of the things I’ve been discussing on this blog and related topics.  But we’re not just talking about “colonizing space” and all that stuff I blogged about not too long ago.  We also talk about the intersection of science fiction and colonialism and examples of colonialism in science fiction (largely in the form of critique). Feel free to tune in! Our question of the week will go up tomorrow, which will be full of happy!

SF/F Commentary

Music Video: “Yellow” by Sarah Fimm

I’ve been getting a few music requests in the last few months and I’ve been trying to think about how to talk about them on this blog. It’s not common to find music which has a genre slant to it (soundtracks are a different beast, after all) or that contains messages influenced by revolutionary science figures like Carl Sagan or Stephen Hawking. “Yellow” is such an influenced work. First, the music video (after the fold): Here’s how her publicist describes her work: Sarah Fimm [is] a dark and ethereal rock-pop composer, artist and singer, whose upcoming studio album, Near Infinite Possibility, will be released in early May. The first single off the album, “Yellow,” is inspired by the short story “The Yellow Wallpaper” by Charlotte Perkins Gilman who journals her descent into psychosis, paranoia, delusion and desperate fear, as the disparity between reality and the events of her mind crumble. Imagine yourself confined to a bedroom, forbidden to work, hiding journal entries from your husband, so that you can “recuperate” from what he calls a “temporary nervous depression — a slight hysterical tendency,” a diagnosis common to women in the Victorian period. Elements of Gilman’s short story are brought to life in Sarah Fimm’s groundbreaking video. Employing tropes of horror films, eerie color treatments and quick edits, the video invokes feelings of curiosity and wonder, and at the same time, macabre and unease. The goal was to create a constantly shifting palette of reality to obscure the difference between dreams and waking life, between the conscious and unconscious mind. The dramatic cinematography of the video was inspired by silent film, contemporary art, and design; psychologically, it draws upon the writings of Nietzsche, Carl Jung, Jean Paul Sartre, and Hunter S. Thompson. Using this visual landscape as her canvas, Sarah’s sound, colored with smooth, melodic rock fused with thick electronic grooves, paints a vivid portrait. A prolific artist who draws influences as varied as Bach, Chopin, Leonard Cohen, Bjork, Tori Amos and Alice In Chains, she has performed at the prestigious NEMO showcase in Boston and independently released seven albums to date, garnering accolades like “one of the most enchanting discoveries of the year,” from Billboard Magazine and “she sings like an angel – seraphim…get it? –and her dark haunting and very lush music calls to mind Sarah McLachlan and Peter Gabriel” by Rolling Stone Magazine, which dubbed her 2004 release, Nexus, one of the top ten albums that year. The latest album, Near Infinite Possibility, features Josh Freese (A Perfect Circle), Earl Slick (David Bowie), Danny Blume (Jill Sobule), Paul Bushnell (Tracy Chapman), Sara Lee (the B-52’s), Sterling Campbell (Eric Clapton, David Byrne) and more. As a seasoned veteran, Sarah has toured with electronica giants Bauhaus and Delirium, and collaborated with Iggy Pop on a yet to be released cover of a Serge Gainsbourg track. Her songs have received airplay on hundreds of college and commercial radio stations, and been licensed to MTV, Lifetime, and several major motion pictures. It sounds pretty intense, doesn’t it?  I’m hopefully going to get the opportunity to hear the full album, which should be a very interesting experience. You can find out more about Sarah Fimm’s work at her website. (Note: the website isn’t currently working for me. I suspect this is just a fluke. If it doesn’t work for you, try again later or search for her on Myspace.)

SF/F Commentary

Publication: “Little Blue Planet” in Phantasmacore

Hurray for flash fiction! I’ve recently had my story, “Little Blue Planet,” published at Phantasmacore. Astute readers may notice that the story is a near-parody of a certain movie. Think of it as a serious version of those “How the Movie Should Have Ended” things. Hope you all enjoy the story! Go over there and leave a comment.

SF/F Commentary

An Addendum: “Colonizing Space” — It Really Is That Bad

Several days ago I wrote a post called “‘Colonizing Space’ is a Dirty Word:  Stop Using It,” which sparked a handful of amusing debates.  io9, for instance, essentially plagiarized me on Facebook by not providing attribution for the problematic I initially set up. I say that jokingly, of course.  The more interesting response, however, came in the form of a refutation by Larry of OF Blog of the Fallen.  His post, and the comments to it, will be the focus of this addendum. Larry’s primary refutation is on the grounds of etymology.  When one looks at the creation of the word “colonization” and its roots in Latin, it does, in fact, appear to have a fairly benign usage (“to inhabit, cultivate, frequent, practice, tend, guard, respect” refers to the Latin root, colere).  The modern definition, however, is only benign if you take it literally.  To colonize means to settle in a colony (a colony being a group of people who have settled far away from home, but maintain ties with their home country).  When taken at face value, that definition appears to have no negative connotations.  What exactly is negative about settling far way from home? That’s where the problems arise.  Colonization never involved settling uninhabited areas (unless we count the two poles in the mix; but we’d then have to consider the impact on the environment, which humans are adept at destroying).  It always referred to the seizure of native lands from native peoples, almost always by excessive aggression, and almost always alongside the formation of racist ideologies and an intensive “civilizing” mission which sought to eradicate indigenous culture, indigenous people, or, more likely, both.  Even when one looks at the time period in which the root form emerged, the processes which it referred to were not benign, but in fact involved the same colonialist practices I’ve just described, usually followed by violence in the form of war.  When one looks at the barbarian tribes the Romans sought to squash, it’s hard not to see the precursors of what would become European colonialism (and American imperialism).  And when one looks farther back in time (the ancient Egyptians, perhaps), one sees that colonization has always been tied to its good friend, conquest. To suggest, then, that “to colonize” can, in fact, be benign is to wash away the extensive history of human aggression towards other human beings which is tied up into the word’s very history.  It matters not whether the word was invented with a benign definition, since what it always refers to is not a benign process.  Taken farther, the word itself is as much a part of colonialist suppression of complicity as we are seeing today in Mike Huckabee’s absurd claim that Obama’s supposed anti-British-colonialism is somehow a bad thing.  Colonialism never wants to be responsible for its own actions.  We know this because we’ve seen the U.S. government repeatedly fight against reparations for the various Native American tribes we’ve decimated, stolen from, irradiated, and so on, even to the point of denying some of them the right to be tribes in legal terms.  This is a never-ending process of suppression, because complicity means something very troublesome for the human “soul.” But perhaps Larry’s greatest failing is when he moves away from the deep past to a more immediate one (the same colonialist past he accuses me of appropriating “colonization” for): I have to question here if his passion got in the way of his intellect, as with that single sentence, there is the appearance of a curt dismissal of the transformative aspects of colonialism. One might be pardoned if s/he is thinking at this point that Duke is coming close to a paternalist attitude of having to defend the besmirched colonized peoples’ honors whenever that nasty “colonize” word is employed. I do not believe for a moment that is what he means to do, but it can be rather insulting to some to see their own hybrid cultures, which are not clones of the mother country but which instead reflect the complex, myriad ways in which different ethnic groups acted upon one another to transform the colony into something that wasn’t wholly a product of the purported motherland. Perhaps I’m insufficiently Cherokee in my heritage to feel all the outrage conducted upon my people by my other people, the Irish colonists/settlers who moved into the Tennessee River Valley over two centuries ago. All I know is that there was quite a bit of intermarriage and exchanging of foods, products, and ideas between the groups; exploitation certainly took place, but it was far from the only means of cultural interaction. There is a great deal of academic research out there on hybridity and the ways in which indigenous people manipulate culture and so forth for their own uses.  Larry’s desire to focus on the transformative qualities of colonialism, however, is misplaced, not least because his rhetoric paints a rather disturbing picture of indigeneity by nearly dismissing the extensive levels of subjugation, extermination, cultural annihilation, etc. in exchange for a softer, if not sanitized, vision of indigenous interactions with colonists.  His argument is akin to suggesting that we should focus more on the transformative aspects of a woman’s interactions with her rich, but physically abusive, nearly-rapist husband.  Could we say that some good might come out of that relationship?  Sure, but that would be a sanitized version of reality, since it gives far too much credit to the side of the story which wouldn’t have existed if the first side had never occurred.  For indigenous peoples, this analogy holds true.  Nobody asks to be colonized.  Nobody asks to have their lands stolen, their people exploited, their cultures suppressed, or their rights denied.  These are things that precede all those transformative qualities Larry wants to talk about.  Should we talk about them?  Certainly, but never without acknowledging that their very existence is predicated upon the destructive impact of colonialism. Even to use Larry’s mention of the Cherokee is

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