Tag Archives: science fiction

CCLaP Mini-review: “The Creative Fire,” by Brenda Cooper

creativefireMy mini-review of The Creative Fire, by Brenda Cooper, a book with grand ideas and bland writing.

Translation Tuesdays: The Flying Creatures of Fra Angelico, by Antonio Tarbucchi

A series dedicated to literature in translation whether classic or contemporary.

flying

Originally published as I volatili del Beato Angelico
Translated from the Italian by Tim Parks
Archipelago Books

Orphans, prodigies, larvae, and ghosts inhabit Antonio Tarbucchi’s short stories in his collection, The Flying Creatures of Fra Angelico. As Tarbucchi writes in the introductory Note, these micro-stories “are the murmurings and mutterings that have accompanied and still accompany me; outbursts, moods, little ecstasies, real or presumed emotions, grudges, and regrets.”

Beginning with the titular story, it tells about Fra Giovanni of Fiesole’s strange encounters with angelic beings while he harvests onions. The short story rides a fine line between the whimsy of magical realism and the unsettling experiences in a docu-realistic approach. Fra Giovanni is visited by angelic beings, but they do not seem like the stereotypical angelic representations one sees in woodcuts or saccharine images around the holidays. One angel has legs like a plucked chicken, despite having gigantic multicolored wings. Another appears thin and frail, closer to a dragonfly. While the tone of the story is one of bucolic agricultural simplicity. Fra Giovanni, a farmer by trade, has a plain view of things. He is a monk but no scrivener, making his angelic encounters all the more perplexing. Eventually, his encounters inspire him to paint these angelic beings. While this summary may seem perfunctory, reading the short story leaves one with an overwhelming strangeness

The next story is “Past Composed: Three Letters,” a collection of three correspondences. Like “Flying Creatures,” the story possesses an ecstatic strangeness. The first letter is from Dom Sebastião de Avis, King of Portugal to the painter Francisco Goya. Dom Sebastião was raised in a courtly life steeped in mysticism and ceremony, whereas Goya was a painter known for his brutally honest depictions of the Peninsular Wars and the atrocities of Napoleon’s troops. The King of Portugal led a doomed crusade in the 16th century with the end result of having his entire army obliterated, his dynasty ended, and Portugal under Spanish rule. These perplexing correspondences continue with a letter from Napoleon’s fortune-teller, Mademoiselle Lenormand, to a female revolutionary named Dolores Ibarruri. Ibarruri was a leader in the Spanish Civil War. Finally, after all this mysticism, we get a letter from Calypso to Odysseus, with Calypso yearning for Odysseus and the desire to become mortal.

The Passion of Dom Pedro” is written like an author’s summary for a novel. Tarbucchi simultaneously regales the reader with a story of passion and betrayal, all the while peppering the account with metafictional jabs at his own creation. “The opening scenario smacks of the banal.” But the next story, “Message from the Shadows” is like a brief prose poem, about the in-between shadow world between light and dark. On one level, it is a succinct little poetic fragment. On another level, it is a commentary on the shadow world his writing inhabits, halfway between classical myths and fables and halfway in postmodernist metafictional contraptions.

A second epistolary short story is a fictional correspondence between an Indian Theosophist and Tarbucchi. We learn that Tarbucchi went to India to research his novel, Indian Nocturne, and he was a translator for the Portuguese poet Fernando Pessoa. This short story collection subtly weaves together collisions and recollections of previous stories.

The final story, “Last Invitation,” is told in a formalized language. It begins,

For the solitary traveller, admittedly rare but perhaps implausible, who cannot resign himself to the lukewarm, standardised forms of hospitalised death which the modern state guarantees and who, what’s more, is terrorised at the thought of the hurried and impersonal treatment to which his unique body will be subjected during the obsequies, Lisbon still offers an admirable range of options for a noble suicide, together with the most decorous, solemn, zealous, polite and above all cheap organisations for dealing with what a successful suicide inevitably leaves behind it: the corpse.

Again we encounter Portuguese culture and the threat of death. The narrator continues on with his analysis of Lisbon and a noble suicide. Death, the inevitable end, the mortal threat we all face, but also, as the last story, the inevitable end of the reading experience.

Tarbucchi’s short stories vary widely in tone and form, but throughout we meet ghosts and angels and kings drenched in mysticism and agnostic Italian writers. With these short stories, Tarbucchi teases out the strangeness, the uncanny, and the humorous in poetic fragments, epistolary stories, and arch satires.

CCLaP Fridays: The Heroin Chronicles, edited by Jerry Stahl

HeroinChroniclesDrugs are bad.  Over at CCLaP, I review The Heroin Chronicles, edited by Jerry Stahl.

CCLaP Mini-review: The Lazarus Machine: a Tweed & Nightingale Adventure, by Paul Crilley

LazarusMachineOver at CCLaP, I reviewed The Lazarus Machine: a Tweed & Nightingale Adventure, by Paul Crilley.  Steampunk fun for those who like the witty dialogue of Buffy the Vampire Slayer and Warehouse 13.

CCLaP Fridays: The Blue Kind, by Kathryn Born

TheBlueKind

Today’s book review: “The Blue Kind,” a dystopian drug novel by Chicago-area author Kathryn Born, and put out by academic imprint Switchgrass. I assert that “More novelists writing in science fiction should take these kinds of chances.”

Battlestar Galactica: Cylons, Hybrids and Mormonism

The Driftless Area Review welcomes a new contributor, Jennifer Huhne.  She comes from a freelancing background and has written on a number of topics.

Considering the fact that it was originally criticized for being too similar to Star WarsBattlestar Galactica has certainly stood the test of time. It is a program that I watched when I was a child in the eighties and that my children now watch. The franchise started off in 1978, was followed by a sequel in 1980, saw a revival in 2004 and has had web series episodes released online as recently as 10th February 2013. The show features an intergalactic war between human beings and a cybernetic race called the Cylons, who are hell bent on destroying humanity. It is hardly groundbreaking in terms of its plot but perhaps clichés are what make this kind of sci-fi program entertaining. As well as managing to keep my kids and I on the edge of our seats, the program also contains a number of interesting themes. The two series that were created by Glen A. Larson have a number of Mormon Latter-Day Saint beliefs incorporated into them.

Mormon Themes

Larson was a Mormon and has included several references to his faith within the show, for example the name of the human race’s home world in Battlestar Galactica is ‘Kobol’, which is an anagram of Kolob, a planet that is mentioned in the Mormon scriptures. Marriage is referred to as ‘sealing’ in the program as well, which is a Mormon term, and there is a fictional governing body known as the Quorum of Twelve, which sounds remarkably similar to the Mormon Church’s Quorum of the Twelve Apostles. However Larson has also woven in aspects of other faiths. Several characters are named after people who appear in Greek mythology and the twelve human colonies are named after the signs of the Zodiac. As opposed to simply using the series as a vehicle to preach his own faith, Larson has intertwined elements of various different beliefs to create a patchwork quilt of mythologies.

Real Life Issues

Battlestar Galactica is similar to Star Trek in that it is part sci-fi series and part soap opera. The interaction between the characters is just as interesting as the alien races and futuristic technology and the makers have never shied away from real life issues. For example, the most recent series contains debate on issues such as human rights abuse and the threat of terrorism and episode eleven of season two sees a pregnant woman being given an electrolyte balance test to see if she has any health complications after suffering an attack that could have potentially killed her baby. Fortunately her unborn child is okay but the fact that the series deals with the potential for people to suffer real-life consequences of incidents sets it apart from other more light-hearted series. The show also deals with issues surrounding lack of medical resources, which are relevant to many parts of the world today. After considering administering individual medical tests to people in order to test to see if they are human or Cylon, medical staff decide to use a technique known as ‘group testing’, which is used in real life. Not only are real-life problems explored but real-life solutions are also presented. The show manages to include gritty, realistic plot lines whilst remaining family friendly, which is fortunate because my children love it.

Political Themes

The war that the humans in Battlestar Galactica are fighting against the Cylons contains some striking similarities to World War II. Some characters turn collaborators, some go underground and become insurgents and the Cylons’ desire to wipe a race of the map is reminiscent of the mindset of the Nazis. The fact that there is a witch-hunt for Cylon sympathizers in the later series also has echoes of McCarthyism. One of the strengths of the series is that it mirrors the real life politics of war rather than simply relying upon action to entertain the viewers. It transposes genuine moral dilemmas into a sci-fi setting, which is why it is one of my favorite sci-fi series.

The Nature of Humanity

Battlestar Galactica also questions the nature of humanity. In the 2004 series, Cyclons breed with human beings to produce hybrid offspring. The fact that they are mechanical creatures challenges whether somebody has to consist entirely of flesh and blood in order to be classed as human. The fact that Cyclons display some human emotions implies that somebody who is not considered to be fully human can still attain the morals associated with mankind. This implies that people’s personalities are not predisposed by their biology and that individuals possess the ability to rise above the limits associated with their physical forms.

Hope For Future Series

Perhaps the reason that this show has enjoyed such a high degree of longevity is that it combines religion, mythology, science and philosophy rather than relying solely upon special effects and fight scenes to maintain the viewers’ attention. It is intelligent sci-fi as opposed to sci-fi that has been created to be visually appealing without causing people to ask questions. Will there be another series at some point in the future? Judging by the popularity of the previous series and the level to which my children loved the most recent one, the answer to this will probably be ‘yes’.

CCLaP Fridays: A new essay series, The NSFW Files

Today at CCLaP, I introduce my new essay series for 2013, “The NSFW Files,” which over the rest of this year will investigate the historical and literary worth of erotica through the ages, from ancient Rome to modern times.

On Being Human: The Man Who Fell to Earth (1976, Nicholas Roeg)

Today at CCLaP: In my last essay for On Being Human, I look at ‘The Man Who Fell to Earth,’ Nicholas Roeg’s 1976 sci-fi art-house masterpiece.

On Being Human: Nekropolis, by Maureen McHugh

nekropolis-mchugh-cover

This week for my penultimate entry in the On Being Human series I examine “Nekropolis” by Maureen McHugh, a novel about an artificial being called a harni and Hariba, a woman who has been “jessed” into subservience.

Reviews in Brief: Werewolves and Other Shapeshifters in Popular Culture, by Kimberley McMahon-Coleman and Roslyn Weaver

Because I read a many books here at the Driftless Area Review, I can’t hope to give them all a thorough long-form review.  Reviews in Brief are short-form reviews that offer a concentrated dose of information.

One doesn’t have to walk very far to see the impact of the shapeshifter on popular culture.  As the last installment of the Twilight movie series lumbers through cinemas nationwide, it is important to take a step back from the marketing onslaught and Robert Pattison-induced hysterics.  Werewolves and Other Shapeshifters in Popular Culture, by Kimberley McMahon-Coleman and Roslyn Weaver, approach the material through thematic analyses.  The pair of Australian academics investigate how things like marriage, sexuality, disability, addiction, gender, and spirituality come to play within the novels and films.

The material covered is vast, including the Being Human TV series (UK and US versions), Buffy the Vampire Slayer (TV series and comics), True Blood (books and TV series), Twilight (films and books), and the Vampire Diaries (TV series and books), among others.  Included in the analyses are more obscure Australian novels like Jatta by Jenny Hale.  For those oversaturated on the Twilight phenomenon, the “Works Cited” list offers some fascinating recommendations.

Werewolves proves its usefulness in its good timing.  Coleman and Weaver investigate the numerous pop cultural pieces here, analyzing how specific treatments reflect attitudes of society at large.  For those curious as to why Twilight is so huge with teens these days will find the thematic analyses illuminating.  Make no mistake, not every TV series, film, or book covered here would fit into the Great Literature category, but it is a wonderful addition to the growing field of reader reception theory.  (Similar reader reception studies have been done with romance novel readership.)  The book is a handy resource for those interested in understanding pop cultural trends, but who have neither the time nor inclination to read through the primary source material.

The thematic analysis is an advantage but also a liability in Werewolves.  The various rubrics (addiction, gender, etc.) put the primary source material through various lenses, all thought provoking.  Conversely, the numerous lenses make the analyses thin and superficial.  As a theoretical starting point in exploring shapeshifters in popular culture, the approach delivers.  Unfortunately, the weakness shows itself most in the section on spirituality, itself a soft, mushy term acting as a catchall for ritual, religion, and cultic social behaviors.  This is seen when McMahon-Coleman and Weaver apply Christian symbolism to the Twilight series.  While spiritual and ethical issues like sacrifice, eternity, and morality get explored sufficiently, the analysis of spirituality in Twilight would have benefited immensely from a specific reading attuned to the uniqueness of the Mormon faith.  The Mormon concept of blood atonement in a vampire novel series would have proved fascinating, along with the Mormon’s specific understanding of links between Native American and Jewish groups.  In Mormon theology, Native Americans are descended from the ancient Jewish population.  What does this mean in light of Twilight’s Native American shapeshifter characters, especially since those shapeshifters pass on their powers via hereditary transmission?

Werewolves is a great starting point for those interested in the significance of the shapeshifter in popular culture and how it reflects modern mores.