SF/F Commentary

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

SF/F Commentary

Guest Post: “The Weird West Subgenre” by Lincoln Crisler

Your kind host has asked me to introduce you to the wonderful world of the Weird West (and in doing so, to the unassailably awesome aesthetics of the alliteration!). If you like steampunk or alternate history, you might like Weird West stories. That Wild Wild West movie that came out a decade or two ago could be held up as an example of either subgenre: steampunk because of the machinery and Weird West because of the setting and the machinery. There’s a bit of overlap with steampunk and Weird West because the time of the American West is pretty much the upper limit of the steampunk time period; that is, before the Industrial Revolution kicked into high gear in the United States and made steampunk-type technology not quite as farfetched anymore. But I digress. The untamed American West of the 1830s to 1920s is rife with possibilities for writers and readers of speculative fiction. You have an entire half-continent or so that’s just beginning to become habitable by Western European standards, you have unknown Native American tribes and people of Mexican descent with cultures, gods and rituals that no one understands and you have a sense of lawlessness that can’t quite be captured as thouroughly in any other milieu. You have people traveling west because they love to take risks, because they’re on the run from a shady past, because they’re greedy; all of which are excellent motivations for characters. Even better, you have lots of guns. So what separates the Weird West from a Louis L’Amour novel, you might be wondering. After all, most of the stuff I talked about in the above paragraph sounds like good material, but not exactly weird. This is where you extrapolate. The machines from Wild Wild West are Weird West material because robots in the Old West are pretty strange and even impossible, right? That’s the Weird West. Those indigenous tribes, with their strange gods and practices; what if they practice magic? What if they can raise the dead? What happens if you send a mysterious risk-taker and a greedy outlaw into a situation like that? Hell, you could even have a dead civilization story or disappearing colony a’la Roanoke; a society with technology at or below that of the Wild West could disappear without a trace in the matter of a couple hundred years, and there’s a lot of unexplored territory out there, pardner. It’s a setting that can breathe new life into old tropes; sure, you’ve read lots of books about wizards, but how many wizard vs. cowboy stories can you think of? The zombie apocalypse seems inescapable when depicted in modern times when people have kevlar and automatic weapons; how much worse would it be in a society that doesn’t even have penicillin? The Old West was a far more uncertain time than any era any living have survived yet, and writers can use this tension to create high-impact stories that readers will enjoy and found unique. How do I know all this, you might be wondering. The answer is my latest book, WILD, available starting this month from Damnation Books. A mysterious problem solver, a slippery outlaw, a dutiful deputy and a former Mexican Army medic find themselves in over their heads when they investigate the mysterious disappearance of a former war hero, legislator, prosecutor and tax collector. My would-be heroes find themselves face to face with the spellcraft of an unknown culture and face down the forces of darkness in their own little corner of the world. I even did a bit of that extrapolation stuff I preached a couple paragraphs ago; the whole shebang is loosely based on the real-life unsolved disappearance of a southwestern war hero, legislator, prosecutor and tax collector. So far, the result has earned some pretty good reviews. My book is available anywhere you could possibly want to buy it, and if you’d like to take your Weird West foray a bit farther, I suggest the Jonah Hex comics, the Dark Tower novel series by Stephen King and just about anything by Joe Lansdale, for starters. Thanks for reading! —————————————————- Lincoln Crisler’s debut novella, WILD, is due in March from Damnation Books. He has also authored a pair of short story collections, Magick & Misery (2009, Black Bed Sheet) and Despairs & Delights (2008, Arctic Wolf). A United States Army combat veteran and non-commissioned officer, Lincoln lives in Augusta, Georgia with his wife and two of his three children. You can visit his website at www.lincolncrisler.info.

SF/F Commentary

The Skiffy and Fanty Show #2.8 is Live! (Your Artificial Face Are Belong to Us!)

We’re back with another episode!  This week is all about the exciting stuff that has happening in the SF/F community.  We cover everything from the SF/F-related movies coming out in March to some Gaimain-esque and Scalzian propaganda.  Oh, and there’s an interesting bit about artificial skin!  So tune in and enjoy! P.S.:  The new question of the week will go up tomorrow.  Make sure to pop on over and give us your answer.

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