CCLaP Fridays: On Being Human: Wraeththu, by Storm Constantine

This week I explore Storm Constantine’s trilogy Wraeththu, about a hermaphroditic human species that overtakes humanity during a postapocalyptic catastrophe.

CCLaP Fridays: The Duke Don’t Dance, by Richard Sharp

This week, I review Richard Sharp’s novel “The Duke Don’t Dance,” tracing several friends across decades and continents from the jungles of Southeast Asia to a DC lobbying firm and beyond. The novel combines nuanced literary observations with cutting satire.

Published!!! Read my manifesto in the pages of Paraphilia Magazine

© F.X. Tobin

I’m published!!!  My short piece, “The Anarcho-Libertine Manifesto, 2nd Iteration” (page 31) has been published by Paraphilia Magazine.  In a nutshell, I call for the arts to be dangerous again and to not be afraid to use lush and opulent language.

A Cultural History of the Chinese Language, by Sharron Gu

One can encounter the Chinese language in a variety of unlikely places.  Captain Malcolm Reynolds upbraiding a crewmember in Joss Whedon’s space western TV series Firefly; Chinese characters strewn about Ezra Pound’s controversial epic masterpiece, The Cantos; and in numerous products one sees in finer Asian markets nationwide.  For many Western readers, this reviewer included, Chinese represents a completely alien language.  The challenge comes from a reader trying to find a point of reference with a foreign language, at least from a technical linguistic standpoint.  For speakers of European languages, this becomes increasingly difficult.  A Cultural History of the Chinese Language by Sharron Gu attempts to provide a means for non-specialists to approach Chinese, not from the technical and scientific discipline of linguistics, but from the discipline of literary history.

Gu couples this literary history with the premise that, because Chinese is so much older than other living languages, it is more refined and advanced.  Gu asserts that,

Chinese evolved into a language as abstract as and analytic as German, as fluid as Arabic, and as suggestive and flexible as English and Spanish.  Most important of all, Chinese has become a language of all these capacities at the same time.

Unfortunately, Gu’s book does not deliver on the premise.

A Cultural History tackles a diverse array of disciplines, including archaeology, anthropology, sociology, political science, and a history of philosophy, science, painting, drama, poetry, and literature.  A comprehensive history of Chinese musical instruments is followed by an equally detailed history of poetry.  Her explanation of the linguistic differences between different words is fascinating.  The problem is not with individual sections so much as the overarching organization.  The accumulation of details and minutiae overwhelms the reader.  While touting itself as a book for non-specialists, it reads suspiciously like a dissertation-turned-into-publication.  The book also sets itself up for confusion by its assertion in a single Chinese language, creating a linear progressive history of language evolution.  While not a book on linguistics, the relative scant attention paid to major Chinese dialects (Mandarin, Cantonese, etc.) and languages related to Chinese (Mongolian, Vietnamese, etc.) is jarring and confusing.

The confusion reinforces Gu’s assertion, exposing its political agenda.  Despite this being “a cultural history,” she writes about “the Chinese language.”  The shaky cultural arguments reflect Gu’s nationalist bias.  Gu really needed to explain the political history of China, since there are references made to dynasties and the Warring States.  One needs to understand from the outset that the China we recognize today does not have the same geographic borders as these older historical entities.  The editors should have insisted on a readily accessible apparatus for the non-specialist reader, including lists for: Chinese dynasties, literary terms, philosophical concepts, and words associated with painting, music, and drama.

A Cultural History of the Chinese Language is less a cultural history than a hyper-detailed edifice vainly supporting a thinly-veiled nationalistic mythology.

Here’s some of the Chinese from Firefly.  Shiny!

CCLaP Fridays: On Being Human: the Culture

Today in my CCLaP essay series “On Being Human,” it’s ‘The Culture’ novels by Iain Banks, in which humans, aliens, and machines all live in a post-scarcity utopia. Banks’s novels follow eccentrics and troublemakers in a society where humans can switch gender, become aliens, and even become machines.

An Interview with Ivan Goldman

What inspired you to write Isaac: a modern fable?

The story of Isaac and Abraham is a compelling story that I must have dwelled upon a thousand times, and I doubt I’m alone in this. Of course there’s a multitude of interpretations. It’s a big topic. I didn’t tackle it until I developed sufficient naiveté to think I could do it justice. This took many years.

I once heard a rabbi say the story means God was teaching us not to sacrifice human beings. Clearly this is bullshit. There were a lot easier ways to teach this lesson, and if that was the message, it could have been much clearer, as are the Ten Commandments. Thou shalt not covet they neighbor’s wife. No wriggle room there.

Finally it occurred to me that if a superior power could send an angel and a ram up there to give the story a happy ending then that power could also have granted Isaac eternal youth. Then I knew I had a story. But I quickly realized Isaac would have to be mortal. Otherwise it’s a Superman story. Bullets, swords, falls from high places, etc. can kill my Isaac, and he knows it. But he won’t grow old or be afflicted by disease. Also, Isaac, though he stepped out of a bible story, has no more knowledge about where we came from, where we’re going, or what is our purpose here than anyone else. He’s just as baffled.

Did you base Lenny’s immortality on any existing Jewish folklore?

I’m a very poor source of existing Jewish folklore, but as far as I know, his immortality is based on nothing like that.

Have you had any experience in the “academic underclass” like Ruth?

I’ve had experience both as a privileged tenured brat and as a member of the stepped-upon “adjunct” lecturer proletariat. I gave up tenure to go off and work as an editorial writer in Seattle for a while. There are, of course, excellent, hard-working professors. Unfortunately, I ran into too many tenured creeps who were so immune from the consequences of their actions that they were basically spoiled children with facial hair. I once sat on a committee that had to adjudicate a grievance filed by a professor who was furious that his department chair tried to schedule him for more than two days a week. Honest. For this, he earned full-time salary.

I wanted to give Ruth, the novel’s co-protagonist, the opportunity to rise from lecturer hell, off the tenure track, to the top. Consequently, she gets a job at a think tank. Most of the professors I worked with would consider a think tank the very top because there are no students there.

Boxing is a motif in your work.  What attracts you to the sport?

It’s a difficult sport that demands courage, grace, strength, agility, quickness, and conditioning. Other athletes tend to admire boxers. Fighters tend to be angry people who overcome their anger through the intense training and fights inside the ropes. That makes them strong, gentle people, for the most part — the epitome of gentlemen and gentlewomen. They’re likable. Also, I was bad at ball sports because I have no depth perception.

Can you tell us about any new upcoming projects?

I’m working on another novel. But I once tried to sell a joke to the Tonight Show, got a gentle rebuff, and later saw Carson do the joke. Consequently, I am a paranoid lunatic and don’t discuss my ideas until the work is sold.

Who are your favorite authors?

Dostoyevsky, Chekhov, and Heller come to mind. I also loved Updike’s “Rabbit” series and some of Philip Roth, mostly stuff he did later. He got better with age. I find that encouraging.

How does a writer survive in this economy?

The economics of it won’t work for most of us. You can’t even sell your soul to TV that easily now that they’ve replaced sitcoms and soaps with scripted ‘reality’ and gruesome ‘contest’ entertainment that pays writers miserably. Life is an unfair lottery. I try not to let it bother me. I wouldn’t trade my life with an investment banker whose mission is to own a more ridiculously expensive watch than the other investment bankers. I was in basic training with guys who were sent to Vietnam while I got orders for California. Some of those who shipped out never got a chance to come home and be shit upon. I was privileged to be shit upon with the rest of us.

CCLaP Fridays: Make It Stay, by Joan Frank

Today’s book review at CCLaP: “Make It Stay” by Joan Frank, which  I calls my favorite read so far of the year. The novel explores the lives of two couples in a small Northern California town as they encounter births, deaths, joys, and frustrations. I assert, “Frank’s highly polished literary prose is definitely worth your time.”