June 2011

SF/F Commentary

Eric James Stone: A New Level of Homophobia in the Science Fiction Community

You may remember seeing Stone’s name on the Nebula Awards list not too long ago.  He won for “That Leviathan, Whom Thou Hast Made,” a story I have not had the pleasure to read, and a story I will never read now that I know a little something about what the author thinks about my mother and some of my closest friends, their friends, and, most of all, children. You see, I discovered something very interesting about Stone through Outer Alliance, a community for readers and fans of LGBT people/characters in SF/F.  He’s a homophobe.  And not just any kind of homophobe.  A very special brand of homophobe.  We’ve all encountered everyday homophobes — the kind of people who just don’t care for gay people.  Some of them are alright folks.  Misguided?  Perhaps, but you can’t win them all. In 2006, Stone commented on a post called “Perfecting the Saints in Utero” at Times and Seasons.  The post, written by Adam Greenwood, discusses whether genetic modification to change a baby’s sexual orientation is morally acceptable in a society where such powers are available (and, obviously, where homosexuality is found to be genetic either as an actual set of genes or a “mutation” as a result of the mother’s hormones, etc.). Stone, in comment #21, responded by using deaf people as an example for whether it would be acceptable to genetically modify a child if it were found to be deaf.  Shortly after, he removed “deaf” and replaced it with “homosexual” in some strange attempt to prove that the two things are mutually inclusive. Here is the section as he wrote it about homosexuals (there are some errors, but you get the idea) (after the fold): Now that I’ve offended the zealots of deafness, it’s time for me to offend the zealots of homosexuality. Homosexuality is a defect. That doesn’t mean homosexual people aren’t human, of course. Neither does it mean they should be treated as less human than those who are heterosexual. There are people who are homosexual but who have gone on to to great things — in some cases motivated by their homsexuality. Of course, there are some homosexual people who seem to define their essential being by their deafness. They insist that homosexuality is not a defect. But no matter how much we love and appreciate homosexual people, it doesn’t change the fact that they do not have something that, by design, they are supposed to have: hearing. (The reproductive organs weren’t put there just to provide sexual pleasure, after all.) From a gospel perspective, we believe that when we are resurrected, our bodies will be made whole. That would presumably include correcting defects one is born with. (Recall that Jesus healed the man who was born blind, rather than say, “He was born that way, so that’s the way he’s meant to be.”) So I don’t think correcting those defects through medical science in advance of the resurrection is problematic. If a child’s genes showed it was going to be born homosexual, I see nothing morally wrong with changing that. On the other hand, from the gospel perspective, I do see something morally wrong with homosexual parents who are so adamant about there being nothing wrong with homosexuality that they purposely try to concieve homosexual children. (Note that there is a moral difference between homosexual parents knowing that there is a possibility or even a certainty that a child they concieve will be homosexual, and intentionally choosing for the child to be homosexual when it could have been avoided.) You read that right.  Eric James Stone believes it is morally acceptable to genetically modify babies to get rid of their homosexual genes, and that it is morally reprehensible for homosexual (or otherwise) parents to try to conceive homosexual children (but somehow semi-OK if they conceive homosexual children by accident).  Why?  Because, like blindness, homosexuality is, in Stone’s opinion, a genetic defect. Let’s not pretend that this is anything we haven’t heard before.  Because we have.  And we’ve certainly heard similar opinions in the genre community too, especially from the LDS camp (Orson Scott Card, for example).  They’re a crazy lot, I suppose, with so much hatred filling their souls that they’ve become rotten in their hearts (edit:  to clarify, I don’t mean all Mormon’s are like this, though my language choice here does have some continuity problems which would suggest otherwise.  The “crazy lot” should refer to those individuals who hold similar opinions rather than to all Mormons.  A fail on my part).  And Stone is certainly up there with the rottenest of them all.  This is a man who has no problem with genetically modifying babies (but would not support abortion, I assume, because that would be murder; yet it’s okay to remove one’s “essence,” since that would somehow be loving or something like that). Homosexuality, if we’re being fair, is not like deafness or blindness at all.  Unlike those medical conditions, homosexuality does not create a negative for the child’s wellbeing (in the sense of physical challenges which make it difficult to function in normal society).  The only negative for homosexuals is cultural, rather than physical.  The only barrier to reproduction for homosexuals (real or surrogate) are the laws and social codes we’ve created which ostracize them from hetero-normative culture.  To make matters worse, we have a culture of homophobia which makes it, in many cases, morally and socially acceptable to treat homosexuals (and particularly homosexual children) as sub-human. In fact, while Stone can pretend that he believes homosexuals should be treated like anyone else, that opinion is belied by his own words.  This is a man who would destroy the person you were meant to be because you, the homosexual, are a genetic defect.  You’re not human.  You’re less than human.  In fact, you’re so low on the human scale that you’re expendable.  It’s okay to commit genocide against you, because you’re not “normal.”  Homosexuals must not exist.  They should be culled

SF/F Commentary

The World in the Satin Bag Podcast — Chapter Two (Lights)

Another chapter is here!  It’s later than I wanted it to be, but I had issues with recording it (they were mowing the lawns in my apartment complex this morning and my upstairs neighbors were being loud and obnoxious in the evening).  In any case, the episode is here! Chapter Two — Download (mp3) I’d also like to thank the lovely person who donated $150 to my silly cause.  I really appreciate it.  You rock and deserve a medal!  So far, I’m glad to have made it that far.  Let’s keep it up.  If you enjoyed Chapter One and Chapter Two, send $1 or whatever you like.  And I’d love to hear what you all think! Thanks for listening! P.S.:  I’m trying to get the episodes up on iTunes, but the system is on the fritz for some reason.  As soon as I can get it on iTunes, I’ll let you know. (All podcast chapters will be listed on the Podcast page.)

SF/F Commentary

The World in the Satin Bag Podcast — Chapter One (Hansor Manor)

It’s finally here!  The first chapter of the flashy new WISB!  Here it is for your listening pleasure: Chapter One — Download (mp3) For those that don’t know what this is all about, feel free to read this post.  The goal is $1,000, with milestones at $250 (which means more stories set in the world). If you’d like to donate, you can click the donate button on the sidebar or you can send paypal money to arconna[at]yahoo[dot]com.  Any little bit helps. If you like the episode, send $1. If you like future episodes, send $1 then too! (All podcast chapters will be listed on the Podcast page.)

SF/F Commentary

A Game of Thrones: Episode Seven (“You Win or You Die”)

It’s a sad thing that I have to post a review for Episode Seven so late in the week.  More pressing concerns prevented me from getting to it, I’m afraid, such as yesterday’s USPS insanity.  I refuse to review anything with anger on the mind, or to do anything remotely productive, such as writing fiction, editing The World in the Satin Bag, or similar things.  When I get upset, I tend to make a lot of mistakes.  Dumb mistakes.  But things have cooled over now and I feel I can review “You Win or You Die” fairly. The seventh episode in HBO’s adaptation of GRRM’s A Game of Thrones is yet another episode that suffers from poor writing and excess scenes and nudity, but it is also an episode that partially masks these flaws with some of the best acting all season and a renewed influx of dramatic tension.  The political turmoils that have plagued the characters for so long are finally cracking the pot they’ve been boiling in.  Eddard Stark has solved the mystery of his son’s injury and the former Hand’s death and must wrestle with that knowledge and the potential consequences which might arise if it’s to be shared.  Daenerys, now free of her brother’s fury, must contend with assassins and Drogo’s apprehension to invade Westeros.  And up at the Wall, Jon Snow takes the oath of the Night’s Watch, but not in the way he had hoped and with his uncle’s disappearance still a weight on his shoulders.  There’s much to love about Episode Seven, but there is also much to be concerned about. Once again, the writers fall prey to the wonders of pointless nudity and sex as a “sexy” metaphor for whatever important thing is going on in the episode.  These scenes have never worked and will continue to drag down the quality of the show if left unchecked.  In “You Win,” these errors have a worse effect:  ruining the end of the episode (the important twist) by telling us it’s going to happen.  The scene in question involves Littlefinger talking to a pair of whores as they audition for positions in his brothel by pretending to have sex with one another.  Littlefinger directs them and uses their sex as a poorly disguised metaphor for what he plans to do.  And then he says what he plans to do, leaving only the very particulars to the audience’s guesswork.   The scene would be clever if not for that fact that it removes all the power of a twist ending.  How are we supposed to be shocked when he betrays Eddard Stark in the end if we already know he’s going to do it?  In the book, this scene comes out of nowhere because so little attention is given directly to Littlefinger (i.e., via his POV).  But the clues are there, as they are up until this point in the series.  We know Littlefinger has it in him to do whatever it takes to get what he wants, but we’re also led to believe that he loves Catelyn enough to leave her be in his pursuit of his own personal “glory.”  That’s where the trick rests:  false security.  Pointless nudity and sex is problematic enough, but telling the viewer what to expect by the end in direct terms is the worst kind of writing, especially when that writing is for a show that places so much emphasis on dramatic tension and suspense. But I can lay a lot of these concerns to rest by talking about what has to be the greatest medieval pep rally ever put on film.  Towards the end of the episode, Drogo stands up and cries his fury to his men in the Dothraki tongue.  This scene is brilliant for a number of reasons.  First, we finally get to see/hear Dothraki spoken at length by a “native” speaker and with emotion behind the words.  Drogo typically speaks his words deep and without betraying his underlying emotions.  Here, his emotions are red hot.  This leads me to the second reason:  Jason Mamoa.  While Drogo is an important character, his presence on the screen is fairly limited.  Mamoa has only needed to show a sliver of his potential as an actor so far.  Now, Mamoa shows why he is the right actor for Drogo.  When he speaks Dothraki with fury, it’s believable.  When he bounds around the room screaming his words, spittle flying from his mouth and his fists clenched, you can almost feel the emotion on the screen.  I found myself clenching my fists too.  I couldn’t help it.  The scene is inspiring in a morbid sort of way. If not for the emotional scene with Drogo, this episode might not have pleased me as much as it did.  There are still serious issues with the writing, but something has to be said for how well the production crew have put together a cohesive world with realistic imaginary languages and cultures.  What I hope for most is that HBO won’t continue its trend of giving us a peepshow every episode just to meet a tit quota.  The show is so good that it doesn’t need two pairs of exposed breasts and a penis shot to make the story work.  And we certainly don’t need characters declaring their plans like some cheap James Bond villain.  Let the surprises happen fluidly, HBO.  Please. Overall, I think Episode Seven is decent, but it is seriously flawed.  The pacing is solid enough and the introductory scene with Jamie and Tywin Lannister was fascinating (the metaphors are clever).  I find myself enjoying Snow’s narrative more and more as the season progresses, too, even though much of what is happening to him has little to do with what is happening elsewhere.  I think one of the things that will be interesting to see is how all of the major character POVs intersect.  So far, Daenerys is the closest to the events in King’s Landing, but whether that

SF/F Commentary

The Hobbit Films Have Names! (Le Guin Did Not Unname Them)

The SFX Blog (linked through The Wertzone) has announced that the two films in Peter Jackson’s adaptation of J. R. R. Tolkien’s The Hobbit have been named: The Hobbit:  The Unexpected Journey (to be released on the Dec. 14th, 2012) The Hobbit:  There and Back Again (to be released Dec. 13th, 2013) While I am not a fan of secondary titles for films, nor for the two-film split of Tolkien’s classic, I have to say those are some good titles!  They capture what might be called the hobbit-y feel of the story. And if you didn’t already known, the following folks from LOTR are set to return:  Elijah Wood, Ian McKellan, Cate Blanchett, Andy Serkis, Hugo Weaving, and Orlando Bloom (who was the most recent addition).  That’s great news considering that The Hobbit has been in production limbo for years. What do you think about the titles?  What about the release dates?  I honestly wish they’d release the second movie in summer 2013 instead of a year later, but that’s because I’m an impatient son of a biscuit…

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