I Am So Much Smarter Than My Students

"The Ones Who Walk Away From Omelas" is a science-fiction short story by written in 1973 by Ursula Le Guin, and if you've never read it, you certainly should -- it's one of the most memorable sci-fi stories ever written -- but it is not a lot of fun; it is a philosophical allegory about a perfect city, Omelas, and the heavy cost of having such a society . . . because Omelas can only continue its existence if a single child is keep in squalor, ignored and isolated in a dark cell . . . and everyone in the city knows of the existence of this child, and knows that Omelas can only exist if the child is kept in this desolate state; most citizens of Omelas can live with the mathematics of this hedonistic calculus, but there are those that can't . . . those that "walk away from Omelas" because they cannot bear to live with this utilitarian bargain; so I made my students write about this and come up with examples of people who "walk away from Omelas," and though they came up with some decent examples (the Amish, Thoreau, people who join the Peace Corp) they couldn't compete with my examples -- I think I would do very well if I took my own English course! -- and so here they are: 1) becoming a vegetarian . . . most of us know that some animal was kept in a tiny cell, just like the child in the story, so that meat can appear on our plates, and we are willing to live with the system because meat is cheap and plentiful, but there are those that opt out for ethical reasons and stop participating in meat consumption 2) the genteel Southern plantation . . . women in fancy dresses, men smoking pipes and discussing issues of the Enlightenment, while the slaves worked the fields out back . . . some freed their slaves, but even great men like Thomas Jefferson couldn't walk away from that peculiar Omelas 3) the hippie I was talking to in Vermont at Thanksgiving, who lives off the grid in a solar powered house with a propane powered refrigerator, he spent six months at luthier school building his own guitar . . . and when I asked him if he liked to snowboard, he made me feel really bad about my lifestyle, because he said, "No, me and my girlfriend like to sled," and then he went on to describe all the sledding they do by their house, which is on a Class IV road, and I felt very bad about myself, since I require large corporations to tear apart a mountain, build giant trails, funiculars, bars, restaurants, snow-making equipment, and all sorts of other infrastructure before I can go and have some fun in the snow.

A Circuitous Journey

A few weeks ago, I picked up the new Geoff Dyer book at my local library-- and because I really like Dyer's writing, I wasn't disconcerted by the fact that the book claimed to be about unlocking the mysteries of a Russian science-fiction film called Stalker, which I had never seen-- nor even heard of-- because I assumed that Dyer would simply be using the film as a springboard for his trademark digressions (as he did in his "biography" of D.H. Lawrence-- Out of Sheer Rage-- which you can find in the BIO section of the library, but the book never actually becomes a biography of Lawrence, and instead is a treatise on procrastination) but this recent book, which is called Zona: A Book About A Film About A Journey To A Room, is actually about what it is billed as being about, the film Stalker, directed by the renowned Russian director Andrei Tarkovsky . . . so I took the book back to the library and spoke to a friend of mine, a film buff, and he told me I had to watch Stalker before I read the book, but that it wasn't going to be easy . . . and he was right, it wasn't an easy viewing, and this may be because I am certainly no film buff . . . I came to movies rather late in life and I have a limited attention span . . . and so it took me days to watch Stalker, which is nearly three hours and famous for its interminably long shots where relatively little happens-- and while I am glad I watched it, as it is compelling, ambiguous, profound, and beautifully filmed story-- and the journey of Stalker, Writer, and Professor is both archetypal and unforgettable-- especially the last scene-- while I admit all this is true, I think I came to this film too late in my life to really appreciate it, and Dyer explains this phenomena in the book: he explains that he saw Stalker when he was twenty-four and in a phase when he was doing a lot of LSD, and he became obsessed with the film, in a way that doesn't happen once you hit thirty or forty . . . he explains the sad fact that you probably won't see the film you consider to be the "greatest" after the age of thirty, and definitely not after the age of forty-- your ability to have your perceptions altered, your ability to respond to art with maximum focus and obsession, this declines with age . . . and so I am stuck with the films of the '90's as my benchmark movies: Goodfellas and The Big Lebowski and Fargo and Reservoir Dogs and the documentaries of Erroll Morris . . . not that a few films from my early thirties haven't snuck into my pantheon . . . Eternal Sunshine of the Spotless Mind and Adaptation . . . but most of my films are light-weights compared to the greats-- fast-paced post-modern fun, as opposed to profound aesthetic journeys, and there is probably not much I can do about it . . . and funny thing, I actually reading about Stalker more than I enjoyed watching it . . . so I am guessing I will never become a cinephile. 

City of Bohane

Even though it meets my definition of true science-fiction, I gave up on Irishman Kevin Barry's new novel City of Bohane, but I did like this bit of description about how the place where you live affects your personality: "too little has been said, actually, about living in windy places . . . when a wind blows in such ferocious gusts as the Big Nothin' hardwind, and when it blows forty-nine weeks out of the year, the effect is not physical only but philosophical . . . it is difficult to keep a firm hold of one's consciousness in such a wind . . . the mind is walloped from its train of thought by the constant assaults of wind . . . the result is a skittish, temperamental people with  tendency towards odd turn of logic," and it makes me wonder how different a person I would be if I was born in Argentina . . . would I have many lovers? be able to dance? wear leather pants? walk around with a rose between my teeth? . . . unfortunately, I will never know . . . there is no escaping the fact that my genes were forged and tempered in that crucible known as Central Jersey.

Genre Definitions (Back By Popular Demand)

One of the exciting recurring features here at Sentence of Dave is called: "Dave Defines Science Fiction," and though I'd be hard-pressed to top my original definition, this new one adds a wrinkle . . .  so without further fanfare, here it is: fantasy is how things never were, and science fiction is how things will never be (and this highly entertaining and much discussed topic is recurring because I'm reading a good science-fiction novel by Richard K. Morgan that corresponds to my original definition . . . though I could care less about the protagonist, Takeshi Kovacs, I love exploring the world he inhabits; the book is called Altered Carbon and the London Times blurb is accurate: "This seamless marriage of hardcore cyberpunk and hard-boiled detective tale is an astonishing first novel").

This One Comes Together At The End

So last Monday night Catherine and I were supposed to see the new Planet of the Apes movie, which is called Rise of the Planet of the Apes and purportedly details how genetically modified intelligent apes defeat the humans in a war for species supremacy . . . and judging from the reviews, the film uses the usual science-fiction trope of giving the human race exactly what it deserves for experimenting where it shouldn't . . . but though my mom got the kids on time, one errand led to another and we missed the movie and instead went to The George Street Ale House for food and drinks . . . but we got more than we bargained for: a young man at the table behind us decided to attempt to eat "Das Burger," which is two 1 pound hamburger patties, four fried eggs, four slices of pork-roll, a slab of Gouda, apple-wood bacon, and four onion rings all served on a giant bun . . . if you finish "Das Burger" in under 30 minutes then it is free, but if you don't, then it costs 29 dollars . . . and though the guy started strong, never putting the burger down and using water strategically to help his mastication, it still came down to the final minute and, with his friend cheering him on, he was able to shove the last bit of meat and bun in his mouth under the wire, but then he bolted towards the bathroom in what I thought was a joking feint to go vomit . . . it wasn't a joke . . . but he choked his vomit back down . . . TWICE . . . and officially ate "Das Burger" . . . and judging by this event, I don't think the demise of human civilization needs anything as radical and dramatic as genetically modified intelligent apes, we're doing fine on our own.

Some Information on The Information

Twenty years ago James Gleick's book Chaos yanked me from the morass of post-modern fiction into the world of deftly written science, and reading Gleick's new book, The Information, felt like a comprehensive review of my past twenty years of literary science reading-- all bundled into a tour-de-force history of information theory that starts with African drums and ends with the noosphere, with commentary seamlessly merged into the text from all the "characters" that I've learned to know and love:  Babbage and Turing, Dawkins and Shannon, Dennett and Hofstadter, Maxwell and his demon . . . who Thomas Pynchon famously used in his post-modern fiction, Heisenberg and Godel, Einstein and Von Neumann, and many more . . . but Gleick ends his book in a place that has outstripped what science has to offer, and so he relies on two of my favorite post-modern authors to conclude: Stanislaw Lem and Jorge Luis Borges . . . he uses Borges' metaphor for the universe, his story "The Library of Babel," to approximate where we might be headed: "The certitude that everything has been written negates us or turns us into phantoms," but then Gleick ends with his own voice, more positive: "As for us, everything has not been written; we are not turning into phantoms . . . we walk the corridors . . . looking for lines of meaning amid leagues of cacophony and incoherence, reading the history of the past and future, collecting our thoughts and collecting the thoughts of others, and every so often glimpsing mirrors, in which we may recognize creatures of the information."

Quora!

So I'm thinking of writing an epic science-fiction novel that is set in a number of giant self-sustaining bio-dome type structures dotted about the ruins of earth-- the people inside are waiting for the earth's ecosystem to regenerate from some cataclysm--and during the wait (which will be thousands of years) the various self-sustaining pods evolve different economic systems and this leads to a variety of debates, conflicts, and decisions about how to use the resources in each pod, and also how trade works between the pods-- it would be science-fiction of economics and conservation and so-- for preliminary research for this book that I will certainly never even attempt to write-- I posed this question to Quora: Is it more cost effective to eat the chicken or is it better to keep the chicken alive and eat its eggs? and people have already given me some logical answers . . . for free!-- so I suggest you create an account and ask questions for research you will never use but are mildly curious about.

Overwhelmed By Sand

After a recommendation from a friend, I started in on a novel that has the four elements that I generally can't stomach: 1) a map 2) an appendix 3) a glossary 4) lots of made up words with apostrophes . . . I'm talking about "Science Fiction's Supreme Masterpiece" . . . yes, that's what it says on the cover, and like everything else in this book, it is said without irony . . . this is the blurb for Frank Herbert's Dune and, surprisingly, I made it through 400 pages of sand, the highly addictive life lengthening spice-drug melange, imperial plots for the aforementioned spice drug, wild religious prophesy among the Fremen, water reclaiming stillsuits, Sardaukaur, the coming of Muad'Dib, a ride on the maker (a sand worm), crys-knife fights, treachery, desert ecology, and all the rest . . . but I finally skimmed the last hundred pages or so, because-- despite the complexity of the world, the fantastic development of the characters . . . both in mind and lineage . . . and the well-paced and multifarious plot-- after four hundred pages of reading you deserve a joke or two, something funny or at least ironic, but like in the Bible and Lord of the Rings, the tone of Dune is epic, and during this epic and very dry time on Arrakis, nothing remotely humorous happens, nor should it I guess . . . this is a place so desiccated that when you die, they render your body for its water, and the pages and pages of sand finally wore me out (and from what I've heard, the movie is not so much fun to watch either).

Super Sad True Love Story Is Not A Love Story

Gary Shteyngart's new novel, Super Sad True Love Story, presents itself as such, but, like the great film Eternal Sunshine of the Spotless Mind, it is actually not a love story at all, it is science fiction (if you use my definition) and though the romance between Lenny Abramov (another Russian Jew, but nearly as cool as Misha Vainberg) and Eunice Park fuels the plot, it also fuels Shteyngart's satirical view of the near future; Lenny is embarrassed that he is nearly forty and growing old, that he still likes books and has trouble with the credit rankings and "F*ckability" scores that everyone is receiving on their "äppäräti,"that he occasionally enjoys alcohol and carbs, and that he can't live up to his boss Joshie's dream of eternal youth, while Eunice-- the youngster-- has trouble "verballing" with Lennie and her parents and her sister, can't imagine a place for herself in a rapidly failing America, can't decipher an actual text-- she majored in Images at school and is effectively textually illiterate, though she can read to mine data-- and loves to shop at "AssLuxury," though she doesn't wear translucent "Onionskin" jeans . . . I give it eight credit poles out of ten.

Did I Ever Really See Dark City?

I watched Dark City on Blu-Ray the other night . . . possibly for the second time . . . it's a science-fiction film directed by Alex Proyas that is strangely similar to The Matrix (though it was released a year before in 1998) but more interesting than this comparison is the fact that I felt as if I was living parallel with the movie while watching it-- the movie begins with a naked man in a room (Rufus Sewell) with a murdered call-girl, and he has no memory of what happened to the girl or of the last three weeks of his life and he has only very dim memories of his past, and he slowly realizes-- as he makes his way through his very dark city, that aliens are manipulating not only his memories but the actual world he is living in; the movie is excellent and really looks spectacular on Blu-Ray, but I could only vaguely remember watching it in the past, and not when or where, and then Catherine came home and she couldn't remember watching it with me, and I rarely watch movies alone and it's not on my Netflix history nor have I rated it and there were only certain things that I remembered . . . like Shell Beach . . . and so I am wondering if I never really saw the movie at all, and if Kiefer Sutherland inserted it into my brain with one of his steam-punk memory injections, but now that I've got it recorded here on this blog, I'll be able to refer back to this post and foil the aliens that have been manipulating my brain (and there are the usual internet theories about how The Matrix stole from Dark City, but I find this highly unlikely, since the script for The Matrix was finished when they were shooting Dark City, and as one nut pointed out, all these ideas originated with the movie Tron . . . but at that point you might as well say that all of these type films-- ranging from The Game and The Usual Suspects and The Sixth Sense all the way to Bladerunner-- are an allegory for Plato's cave and forget who stole what from whom and just enjoy the special effects).

These Are A Few Of William Gibson's Favorite Things

Science fiction writer William Gibson once said, "The future is already here-- it's just unevenly distributed," and the characters in his new novel zero history definitely live in the positive agglomeration of the futuristic present . . . rhenium darts, penguin shaped floating surveillance drones, and ekranoplans are all de rigueur in this universe; in fact, things, especially fashionable things linked to the military, play a more important role than people in the book, which makes the novel hard to follow . . . the people are bystanders to the fashion, technology, intrigue, and marketing that surrounds them . . . and, appropriately, people in the book are constantly "Googling" things because they are beyond their ken, and they are worried that their knowledge of these secret, obscure, often technological things might be ersatz, and meanwhile, in my less futuristic present, I was Googling things in the book as well, to see if they were real or not: I'm glad I finished the book, I've read everything William Gibson has written and I don't want to stop now, but this is the weakest effort in the "present-future" trilogy (the other two are Pattern Recognition and Spook Country).

Somebody Better Write This Quickly (Before We Forget About The Gulf Oil Spill and Start Worrying About Some Other Disaster))

I hereby donate this bad science-fiction plot to whomever would like to develop it into a full length novel or movie: the US Government develops a petroleum eating bacteria in order to clean up an oil spill, but the bacteria mutates into an airborne strain and slowly expands around the globe, eating the fuel at filling stations and in individual gas tanks, essentially paralyzing world transportation-- and the bacteria creates propane as a waste product, which is highly flammable, so there are LOTS of explosions and lots of chaos, but one man-- in his home made electric car, with his battery powered fan, and his electric razor, and his electric chair-- will save the earth from complete pandemonium . . . admittedly, it sounds pretty dumb, but it's a better plot than The Human Centipede.

Hyperion

There's nothing more fun (for an English teacher) than reading the same book at the same time as someone else, especially if it's obscure-- and so it was with some regret that I finished Hyperion, Dan Simmon's 1989 Hugo Award winning science-fiction novel, which in Canterbury Tales fashion (each character tells a story) recounts the pilgrimage of a soldier, a detective, a priest, a scholar, a poet, and a diplomat to the remote planet Hyperion, home of the Lord of Pain, otherwise known as the Shrike, a three meter tale robotic many bladed creature which lives outside of time and may have been created in the future by humans or AI computers, and comes back into the past where it has spawned religious cults, inter-galactic mythology and speculation, and, of course, fear . . . and I'm sure there was nothing worse than being trapped in the English office listening to me and Mike talk about the intricacies of the plot . . . it reminds me of the old days when Celine and I would discuss Battle Star Galactica until people started screaming bloody murder.

4/3/2009

Some science-fiction reviews: Danny Boyle's Sunshine is pretty good, lots of slow paced space scenes like 2001 and some actual science to back it up, but it gets confusing and presses for a big ending; John Wyndham's 1955 novel The Chrysalids is really good, a precognisant story of religion, mutation, and evolution: lots to think about, and it actually has a working plot and realistic dialogue . . . so now I've got to read his other famous one: The Day of the Triffids.

I Go Out On A Limb . . . A Nerdy Limb

I know it's controversial, but I told my students anyway because I'm that kind of guy-- if I have an opinion, I speak it and let the chips fall where they may: my definition of science fiction is when the setting-- whether it's based on technology, set in the future, or simply a logical alternative to our own history-- is the main character of the novel or movie-- so that excludes and Star Wars and Godzilla, but does include Soylent Green and The Matrix.

Hey Internet! Write This Novel!

Here's a terrible idea for a novel: 

the internet becomes so large and complex that it attains consciousness and starts writing e-mails to people, because that is the only way it can connect with reality-- it has no senses, just an awareness through its content that there is an outside world (like the reverse of The Matrix . . . or maybe a science-fiction version of Pinocchio) but, honestly, I'm not going to write it, and so I'm just throwing the idea out there . . . perhaps the internet will read it and then decide to self-reflexively write it-- so listen up, Internet, if you write a big-budget movie, I want some compensation!