Mr. Obama’s Neighborhood

Last week, when the participants in the Digital Storytelling workshop began to share their stories, I could see that my plan for a distantly personal account of my own “digital footprint” was going to be badly out of place, as the other people were planning to create deeply personal and emotional works.

I was one of two men in the group; the rest were all women. To some extent, this raised for me some old questions about gender, voice, and emotional intimacy. This discussion comes up a lot around blogging for example: are women bloggers more comfortable with self-exploration, with self-revelation, and are they read and responded to differently as a result?

For myself, I know I feel what seems to me to be a masculine reluctance to get too personal or therapeutic when I blog or talk (or make digital stories). I think there are good things about that kind of male reticience, much as there are also good things about a stereotypically female kind of intimate openness. That these are stereotypes is important to remember: men and women can do both kinds of voices, prefer one to the other for themselves and the opposite in others, or blend the two selectively.

The hard thing is figuring out when it’s ok that a given occasion or venue or institution prefer one or the other kind of mode as a default or norm, and when it’s important instead to consciously make room at the table for multiple styles or modes of speech and representation. At a storytelling workshop, for example, it may be that to insist on the legitimacy of a much more reticient male voice is to suddenly make more emotional and personal stories feel like an exception rather than expectation, to put everyone on their guard. On the other hand, what if that is honestly the way that someone wants to approach the exercise?

One of the things I really dislike both about George Lakoff-style talk of “framing” and Deborah Tannen-style analysis of gendered discourse is that both approaches view the content of conversation or debate as inauthentic and irrelevant while also proposing that discourse is a zero-sum game of power, that one frame dominates any others, that you’re either at the margins or the center.

But sometimes, sometimes, they’re right. Some kinds of talk preclude other kinds of talk. Some discursive gambits dominate and silence. In more positive terms, sometimes only one kind of talk is productive or helpful or appropriate.

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There were a lot of notes and gestures in President Obama’s inaugural speech that I loved, that spoke to my own frustrations with the last decade and pointed the way forward in ways that I really like.

I think by now it’s clear that he’s genuinely interested in building a big tent, to lead his “patchwork nation”, in crafting an inclusive vision for his Presidency. The invitation to Rick Warren has already suggested just how difficult it is to carry out that ambition in one direction. In another direction, the completely banal chatter of the punditry after the Inauguration suggests how hard it will be to simply surpass tired oppositions and hackwork political tropes to favor some kind of consensus pragmatism. Obama has shown a lot of personal and political discipline, but that will be tested even more strenuously in the weeks to come.

When Obama is functioning as a titular or symbolic leader, his patchwork can be at its most expansive, when he can be most like Mr. Rogers welcoming all the kids into his living room. All kinds of ways of talking are appropriate to those moments and contexts, and it’s important that the Presidency appears to acknowledge that range of talk, to know that it exists. If you programmatically exclude someone’s voice in this context, you’re excluding them from the national community itself, which is a gesture that ought to be used only in extremis.

When it comes to the business of governance, to its day-to-day functioning, Obama and the rest of the executive is entitled to a much more restrictive and filtered sensibility. But not too much so: it’s important to structurally build-in dissent, to formally review alternatives, to question the provenance and legitimacy of information, to subject everything to skepticism, and to puncture the Beltway bubble as much as possible. Day 1 of the Obama Presidency was promising on this score: making this kind of procedural culture work starts and ends with transparency, for example.

The hardest challenge, in many ways, falls in the space in between the titular, symbolic Presidency and its interior deliberative work, in the way that the President and his officers operate within the public sphere, in how they formulate and present and defend policy in front of and in dialogue with the public. This is hard because it requires a very fine distinction between the voices that authentically speak from a habitus or perspective that’s at odds with the worldview of the President and his advisors and much more calculated and cynical bids at “framing” that come from a well-oiled machine that approaches public dialogue as a pure instrument, as a zero-sum exercise which either advances or defeats narrow self-interests.

The distinction between the two is most easily glimpsed if you cultivate a taste for the unlike, force yourself to speak in unfamiliar and uncomfortable tongues, travel across ways of seeing and talking as one might travel across geographies. This commitment is not a safe, happy kind of venture of unity-in-difference, not a boat ride through “It’s a Small World”. Listening to the unlike, speaking the unfamiliar, can be draining, painful, frustrating. And at the end of any journey, you’re perfectly entitled to conclude that you like your established ways of talking best, that there’s something wrong with a stranger’s world and voice. But I think the person with the taste for the unlike can hear better the difference between a public voice that comes from somewhere real and a cynical attempt at framing that comes from some rag-and-bone shop think tank. If there’s anyone in public life whose personal journey has given him an ear for unlikeness, it’s Obama, so I have high hopes that he’ll guide his Administration through the narrow divide that will allow him to ignore tired old constructions, to make real the promise that “the ground has shifted beneath” the cynics, while never losing sight of ways of speaking and thinking that are authentically different from his own.

It’s not just his job. The same discretionary challenge falls on all of us. For example, in the context of debates about the inclusiveness of academic culture, there’s a crucial distinction between participants who are actually doing the work of scholarship in a different or unlike vein and demanding that it be included or respected and those who merely constantly complain of groupthink or exclusion without ever putting into practice the scholarship and pedagogy that they proclaim as excluded. If you demand a wider, more inclusive approach to institutional discourse, whether in national politics or in university life, then you have to demonstrate that you yourself are committed to inclusion. Which means, in any context, practicing that same taste for the unlike. If all you can praise is work which conforms to your own particular tastes, ideologies, and preferences, you’re not trying to inaugurate the institutional or political future which you ardently demand. It isn’t just Obama that has to go beyond the “stale political arguments”. Anybody who demands or values that kind of commitment in others has to try to live it out in their own practices.

Posted in Politics | 8 Comments

“The Vice-President Has Been Reclassified as a Pet”

You won’t get the joke at this link if you don’t play online games like World of Warcraft, but for the initiated, this post is full of win.

Posted in Games and Gaming, Politics | 1 Comment

The Right Way to Workshop

One of the things about the Digital Storytelling workshop that I really appreciated was its pedagogical effectiveness. I feel as if I’ll retain some competence with the tools we worked with (primarily Final Cut Express).

I know I’m dropping into a long-running conversation among people who do training or workshops (whether for information technology or otherwise) but here’s my view after having participated in a number of sessions of this kind.

1. Showing participants a whole range of cool things that a type of technology can accomplish (or covering a lot of subject matter for any other topic, for that matter) doesn’t work well. Your mind numbs out after a while, it all blurs together, and it’s too passive an experience to gain a toehold. This is a big temptation for someone trying to evangelize for new tools or capabilities, showing off everything from soup to nuts. But even a receptive audience is going to come away from that kind of experience with no real feel for what they’ve seen.

2. Having participants do hands-on work with a new technology doesn’t work if they’re doing exercises suggested by the facilitator, at least not if the point is to try and suggest possible uses for a new technology to faculty or other relatively autonomous workers who can take or leave that suggestion as they please. I suppose if you’re training people in a new version of Excel and they have to learn it as a job requirement, it doesn’t matter if you’re helping them envision the range of its uses and you can go ahead and just have them do rote exercises. Otherwise, though, hands-on projects have to come from the participants.

3. Workshops or training sessions where eyes have to be on the facilitators much or all of the time don’t work. People need a lengthy amount of time to work independently on a project. I think it’s well-known by now that most users of information technology, whatever their competence level, have learned most of what they know in relative privacy, through trial and error. You’ve got to accommodate that and leave people to their own processes, maybe with some gentle suggestions based on unpressured observation.

So this workshop was a model: a concentration in the beginning on the projects, not the technology, and then a quick move towards independent work with varying levels of facilitation or guidance depending on the needs and interests of the participants.

Posted in Information Technology and Information Literacy | 3 Comments

Patrick McGoohan RIP

Patrick McGoohan was one of my family’s favorite actors when I was growing up, and time hasn’t dimmed my affection for his work. (We once planned to stay in Portmerion, where The Prisoner was filmed, and couldn’t because there was a devastating fire at the hotel several nights before we were supposed to stay there.)

Whether he was the star, as in Secret Agent Man, The Prisoner or The Scarecrow of Romney Marsh, or a supporting player, as in his two great guest appearances in Columbo or his appearance in the film Braveheart, he always seemed to punch a hole through the action through the sheer intensity of his presence. He was like a form of human dark matter: intellect and will and discipline burned down to some alchemical base. When he showed up in the film Silver Streak as the villain, he so obviously outclassed Richard Pryor, Jill Clayburgh and Gene Wilder (as actors and characters) that I found myself rooting for him instead.

Here’s a couple of clips of McGoohan worth watching.

Awesome little clip from a 1957 film that also features Sean Connery. (This is what YouTube was meant for!) Watch McGoohan’s body language and measured silences as he plays out a basically stock trope (top-dog enforcing his role) if you want a good sense of how he conveyed intellect–he tells you from the very first moment you see him that this character isn’t acting out of adrenaline, but calculation.

This 1977 interview with McGoohan about The Prisoner is really compelling–you can see how much his screen presence is an extension of his personality and thinking.

Here’s a trailer for The Prisoner. I’m not sure if this actually a network trailer for the show from its original U.S. airing, but the announcer definitely seems to be from another universe altogether than the show itself.

Lots of good clips out there from Secret Agent Man. Easy to see why it drew audiences: McGoohan played John Drake as the anti-Bond in all sort of compelling ways.

Posted in Popular Culture | 1 Comment

The Visual Bottleneck

So I finished a short movie on the third day of the Digital Storytelling workshop. I’ve got a number of reactions to the experience, which has been really interesting and useful in a variety of ways.

For one, I’m struggling again with the fundamental problem that visual representation poses for the creation of multimedia. At the beginning of the workshop, I reconsidered my own plan to produce a short piece about my personal history of attractions to and misgivings about computers and digital media, partly because the other participants and the facilitators were so strongly directed towards more deeply personal, autobiographical projects. (More on that change of heart in a later entry.)

When I think about digital storytelling as something I might use with my students, I don’t imagine them doing highly personal, emotional work. But even thinking about it as a creative tool for myself, I can think of a lot of stories I can tell that might be really fun to tell through this technology.

For example:

When I was a teenager, my family lived for a month in a farmhouse near the French town of Puy l’Eveque. We were renting from a large multi-generational family that ran the farm that surrounded the house. We hadn’t met more than a few of them before the night that a torrential rainstorm came roaring out of the west.

In the middle of the storm, there was a knock on the door. An old man was there, whom we all guessed must be an emissary from our landlords. He was holding an odd piece of wood with a hole in the middle of it. My sister and I could speak high school French, badly, and my mother could speak a bit better than that. This conversation was a bit harder to begin than the usual, however. What did the man want? Did he want to know if we were safe in the storm? We all realized we didn’t know the word. A quick glance at the dictionary. “We are all safe”,

The man laughed uproariously and spoke rapidly to us. We didn’t understand a single word. Oh. We had said that we were all coffre-forts, the kind of safe you keep money in. Try the adjective! We are safe, we are out of danger! En securite! Hors de danger!

Hysterical laughter and more rapid-fire talk. Now we wonder if he needs us for something? Maybe that piece of wood? Is the house next door in trouble? Is this a warning? We try this and more, and everything we say is apparently the funniest thing he’s ever heard. In fifteen minutes, we haven’t understood a word he’s said. My mother finally just drags him next door, hoping that we can sort this out in a combination of bad French and bad English with the matriarch of the family.

She comes to her door and looks in shock and dismay at the old man. He isn’t a member of her family. He’s the local lunatic who occasionally gets out of his facility and comes up to this house. He’s not speaking French: nothing he’s saying is intelligible in any language.

It seems to me that you could have fun telling a story like that in a multimedia, digital environment, a story that isn’t deeply personal but also doesn’t aim to be a full-blown work of narrative film. The technology isn’t limited to academic or intellectual projects on one hand and emotionally intense memoir on the other.

However.

I realized that one reason the workshops push participants in that direction has to do with the practical and creative problems that digital images can pose for most people, especially in a creative process that is compressed into three days.

Most of us have at least some images of our own lives, whether photographs, drawings, or other ephemera. Generally, our ownership of those images is uncontested. And most of us can intuitively, quickly imagine how those images fit alongside a written or spoken narrative of our own experiences.

But think about the story of the French lunatic. I don’t have any pictures of him. I have one picture of the house itself and a scattered few of my family over that summer. Besides, if the story has any value at all, it’s not just about me or my experiences. It’s a slight, light-hearted fable about language and understanding.

So for one, this is a much bigger creative problem than selecting the images that I already know in my heart, that accompany my memories. I could go searching the Internet for images that other people have made that seem to go with the story. Some people are extraordinarily creative at doing this kind of work, especially in a humorous vein. But many other people get stuck in a painfully literal frame of mind when they turn on Google Image Search, and in those hands, you’d get a story with a picture of a random photo of an old man, a picture of a rainstorm, a picture of a piece of wood, and maybe a French flag. And what if you decide that you’d like to go beyond just remixing, and make some images yourself for this story? That’s going to involve time and it’s going to involve technology (even the simple technology of a pad of paper and a pencil) and it’s going to involve a degree of visual creativity that many of don’t feel we possess. All of which is a guaranteed disaster for a short workshop, but which is a limit condition even given a lot of time and a lot of tools.

Add to that the problem of intellectual property, which has come up quite a bit during the workshop. We own our own photos and images, but if you’re remixing a story using the publically available images of others, you’re going to come across an incredible diversity of covenants governing those images. In many cases, those covenants are going to end up deciding what gets used or not used, regardless of what is creatively ideal.

Now, intellectual property advocates will tell you that this is precisely the kind of problem that Creative Commons will solve. Up to a point, I agree. I really like the kind of work that the workshop did and the kind of work that I imagine could be done, the other stories and presentations that we could create with this technology. But images are a bottleneck not just because of copyright. Most of us are also simply not trained to be visual authors, and not accustomed to think of creating or presenting or arguing in those terms. Most of us are sitting on a pile of images that we’ve made or inherited that come out of our own lives, but it seems like a big stretch to go beyond that. Creating digital multimedia with a wider array of creative and intellectual purposes is at some point going to need that kind of facility with images.

Posted in Academia, Information Technology and Information Literacy, Intellectual Property | 4 Comments

Hearing the Self

I’m on my second day of a Digital Storytelling Workshop facilitated by the Center for Digital Storytelling. I’ll have some more things to say about it later on, but one small thing I found interesting was that many participants yesterday mentioned that they don’t like the sound of their own voice when they hear it recorded. I’ve often felt the same way, though my friends and colleagues have told me that when they’ve heard me on radio, I sound pretty much the way I do in person.

So this is an interesting puzzle. I don’t think it’s connected to a fear of public speaking. What is it about the sound of our voices when we hear them recorded that many of us find displeasing?

Posted in Information Technology and Information Literacy | 5 Comments

Throat-Clearing: On Politics

Back in action in the new year. Let me throw out some unusually short or brief comments just to stretch my blogging muscles.

1) Roland Burris. I suppose the first thing with Burris that bugs me is: who would take an appointment under those circumstances? Would Illinois as a state suffer that badly if it didn’t have a second senator until after the governor is impeached? I’m sure that a very good, ethical, upstanding guy could nevertheless talk himself into drinking from that tainted cup on the grounds that if he doesn’t do it, the governor is just going to keep on going until he finds someone who will. But there’s a kind of vaguely unwholesome self-appraisal involved in that logic: to think that way, you really have to believe that you’ve got to be better than whomever the hypothetical person is who will accept later on. It might be better to just wait and hope that by the time Blagojevich has to start robocalling households in the greater Chicago area looking for a Senator, he’ll either give up or be impeached.

2) One other thing about Burris: at least some African-American politicians in Illinois pretty much responded in just the way that Blagojevich must have hoped that they would, by insisting that continuing to have misgivings about the process by which Burris was appointed was tantamount to wanting to keep the Senate without any black representation. It’s hard to be a powerful political bloc if you’re that easy to manipulate or that predictable in your positions.

3) I’m sure many of you are still getting a barrage of emails from the Obama campaign. I’m ok with that, up to a point. The volume of the communications, this long after the election, is starting to have the vague stench of spam. However, I’m way more concerned with one email that landed in my inbox today. It’s purporting to be a follow-up by David Plouffe to a message with the subject line Midnight Deadline that purportedly comes from Obama himself. The thing that makes this email notable in my view is its subject heading, which is Re: Midnight deadline. Why does that draw my eye (and ire)? Because it’s a slightly sleazy social hack designed to make you open up the email. Most of us have developed heuristics for coping with full inboxes, in which we spot quasi-spam or things we can ignore and delete them unread, quickly. A message with Re: in the header implies an ongoing communication, as if someone is responding to something we sent to them. The eye lingers on that heading, and maybe we open it just in case. This is a social hack that sophisticated spammers figured out a while back. Competence in digital communications, which the Obama people have certainly demonstrated, is sometimes thinly separated from a cynical misuse of digital tools. If the staff responsible for these communications knows anything about online culture, they ought to know that if you provoke people too often with that kind of misuse, the firestorm of negative reaction can be very hard to dampen.

4) I think the selection of Panetta as CIA head is a pretty good one. Quite aside from the complicity of the agency in the worst aspects of security policy in the last eight years, it’s an agency that has long had a pressing need to be restructured and rethought, as well as managed competently on a purely financial basis. The CIA one of the most legendarily insular and self-protecting bureaucratic fiefdoms in Washington, often to the detriment of its own mission, not to mention its responsibilities to the government and the nation.

5) My guess is that the next coming story in the development of the recession is going to be a wave of small business closings and bankruptcies, which will probably have more visibility in the everyday life of many Americans, in a more evenly distributed way, than any of what has happened so far.

Posted in Politics | 7 Comments

The Thing You Must Do

Over at The Edge of the American West, a cautionary tale for those of you being interviewed for academic jobs this season.

A basic part of your preparation for any interview should be the preparation of a couple of syllabi to include in your packet (not your initial application for a post, but a follow-up for when you’re asked to come for a screening interview). At least one of those syllabi should be your approach to a bread-and-butter undergraduate survey of your major field of specialization, and one should be the most imaginative or interesting topical course for undergraduates you can think of. I don’t think you necessarily need a graduate-level syllabus, but you should have some idea of what graduate-level teaching you’d like to do.

I’m not likely to ever put this idea into practice myself, but I still think that the absolute best way to do a graduate-level seminar in a specialized field would be to spend the semester (or year) collectively building 2-3 syllabi for undergraduate teaching in that field and reading all the works which might potentially be included in those syllabi. All the students would end up with some syllabi to work from, they’d be able to talk about pedagogy in a usefully intellectualized context, and it would focus the conversation away from the kind of snide one-upmanship that graduate seminars have a tendency to devolve into.

Posted in Academia | 6 Comments

My A-Z

Bob Rehak tagged me with a fun meme: name a favorite movie for every letter of the alphabet.

Adventures of Robin Hood

My favorite Errol Flynn title, though my favorite character in it is actually Basil Rathbone’s Guy de Gisborne. Plausibly I could list Alien and Aliens. But I’m not a big fan of the entire aesthetic of horror, so much as I admire Alien as a film, I’ve never enjoyed watching it that much. Aliens is a really good genre film. I’m oddly fond of The Adventures of Baron Munchausen for all its flaws. But Robin Hood tops it easily for me.

Butch Cassidy and the Sundance Kid

Bonnie & Clyde, Bringing Up Baby, The Big Sleep, Bridge on the River Kwai, Blade Runner are all plausible runner-ups. This is a tough letter.

Casablanca

This was the hardest letter. Citizen Kane, Chinatown, A Christmas Story are all films I could easily name instead. Casino Royale is inching into this company, though it would be better off with a different first letter. I suppose Casablanca is the bloody obvious pick, but I do love it.

Duck Soup

Dr. Strangelove would be my other “D” movie. I’m kind of fond of Deep Impact for some reason but it doesn’t quite make this level of goodness.

The Empire Strikes Back

It doesn’t matter how thoroughly Lucas craps on his franchise, I still love this film.

Fitzcarraldo

A favorite of my father’s. Les Blank’s documentary about the film is maybe even more compelling than the film itself. A Fistful of Dollars also comes to mind for this letter. I found Flirting With Disaster very funny as well.

The Godfather Part 2

I’m not actually that fond of films about the mob (so no nod for Goodfellas, etc. here) but this one is in another league. However, I could easily jump to Bob’s pick for G, Groundhog Day. I have an odd fondness for Gladiator, which I don’t think is that great a film at the end of the day. Goldfinger is my favorite Bond film after Casino Royale.

High Noon

I could also name The Hustler here.

The Iron Giant

Still actually my favorite Brad Bird film, much as I like all of his work. The Incredibles competes for this letter, certainly. I also love the Peter Falk and Alan Arkin version of The In-Laws.

Jaws

I guess. I can’t think of many J films. Jaws certainly holds up as a work of entertainment, even though some of the schtick in it now seems so familiar from long exposure to Spielberg’s works. I enjoyed Jean de Florette but it’s not exactly in the same weight-class as the others on my list. The 1953 version of Julius Caesar had some good performances and a great score.

Kung Fu Hustle

One of the greatest films ever. But until it came out, my pick for this letter would have been To Kill a Mockingbird, which I also still love very much.

Lord of the Rings: The Fellowship of the Ring

Of the three, I thought the first was the best. I like LA Confidential, but it’s kind of the poor man’s Chinatown Lawrence of Arabia is a favorite, and I probably would have named that before the Jackson films.

Maltese Falcon

Just about my favorite film ever, but it’s hard to pass by Monty Python and the Holy Grail without a nod. I’m also very fond of The Man Who Would Be King. Manhattan is about the only Woody Allen movie that really holds up strongly for me, but not nearly strongly enough to get on a personal favorites list. This summer’s Mongol kind of elbowed its way into my estimation for this letter.

My Neighbor Totoro

My favorite of Miyazaki’s films. Night of the Hunter is a great film, and I’m very fond of Paul Newman’s performance in Nobody’s Fool.

Once Upon a Time in the West

Henry Fonda is just great in this film. I love One False Move as well. Office Space might make it except for the weak second half of the film.One Flew Over the Cuckoo’s Nest would be on a lot of people’s lists, but I actually think it’s over-rated.

The Princess Bride

This is a tough letter simply because I’d also like to pick Patton. But Princess Bride is easily in my personal top ten. Pitch Black is a bit of a dark horse contender, if you’ll forgive the phrase.

The Quiet Man

Winner by default, I guess. It’s an enjoyable enough film.

Raiders of the Lost Ark

I enjoy Rashomon (at this point, you can scarcely talk about narrative without someone mentioning it) but I wouldn’t put it in my top personal films. Still, I could be persuaded to knock off Raiders, which I don’t think has aged as gracefully as Jaws or Empire Strikes Back. Raging Bull is a great film but I don’t enjoy repeated viewings of it much. I haven’t seen Raising Arizona in ages, but I might be able to move that to the top. Reservoir Dogs is a great film in its own terms, but I really don’t care for Tarantino’s whole aesthetic.

Seven Samurai

Another family favorite. I can think of a lot of “S” titles that I really enjoy but maybe none that I’d put in the same weight class as Seven Samurai. I notice that the top IMDB film is The Shawshank Redemption, which I’ve actually never seen.

The Third Man, Treasure of the Sierra Madre, Tunes of Glory

The letter T is for torment. I don’t know how to choose between these three films, so I won’t: they’re all equally important to me. Toy Story and its sequel are favorites but can’t stack up against these others. Twelve Monkeys is a fascinating movie but I don’t really enjoy it on repeated viewings too much. Time Bandits, as long as I’m thinking of Gilliam, is also a fun movie, but again, not in this company.

Unforgiven

What, did you think I was going to choose Urotsukidoji: Legend of the Overfiend? I can’t even think of any other U films, and I liked Unforgiven a good deal, so it gets the nod.

I have no V.

V for Vendetta wasn’t awful, but no way is it a favorite. And I like Newman in The Verdict but the film as a whole is only okay. Vertigo is a good Hitchcock, but Hitchcock’s entire oeuvre leaves me kind of cold in terms of personal taste. Maybe I’ll think of a V movie later.

White Heat

But I like The Wizard of Oz as well. I didn’t used to so much as a kid because I’d get hung up on its lack of correspondence with the book. The 1953 War of the Worlds is a favorite, in part because my grade-school library used to have a filmstrip version of it tucked in with the educational stuff and I could get away with viewing it repeatedly when we had library time. “Six days, you said…the same time it took to create it”.

X-Men 2

Oh, if I have to have an X, X-Men 2, but it’s a pretty mediocre film.

Young Frankenstein

I’m ready to pull this one off my favorites list, though. I watched it again just recently and I find a lot of it doesn’t work very well any more. You kind of had to be 13 at a moment in the general history of the US in which neo-vaudevillean innuendo about breasts and erections was somehow hilarious and daring all at once. I don’t really like Yojimbo, and a few of the awesome set-pieces in You Only Live Twice are spoiled by the craptacular ridiculousness of Sean Connery pretending to be Japanese. Y Tu Mama Tambien is great, but it would be kind of cheating to list it under Y, I think. I remember liking the Turkish film Yol, but it’s been ages since I saw it.

(The Mask of) Zorro

Cheating! But I do love this film. If I have to stick to an honest Z, I have no idea. I don’t like Zentropa, Zelig is a one-joke film, and Zardoz is horrifically bad if in a fantastically enjoyable kind of way. Zulu and Zulu Dawn are pretty weaksauce as films.

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I’ll pass the meme along to: Ta-Nehisi Coates, Laura at 11D, Laura at Geeky Mom, and Jason Mittell.

Posted in Popular Culture | 3 Comments

A Sale of Two Doorstops

Recently, mindful of a long flight home, I went looking to the local bookstore to see if there was anything new that I hadn’t read. I looked at some fantasy titles, but most of them had the kind of blurbs that I’ve previously described as a huge turn-off.

I finally settled with some trepidation on two books. One by David Anthony Durham called Acacia: The War With the Mein, the other by R. Scott Bakker called The Darkness That Comes Before.

With Acacia, the title made me think that maybe the book would have an African connection, and the set-up seemed a bit more interesting than orphan-commoner-actually-prince must-find-magic-McGuffin to defeat Dark-Lord. The blurb seemed to me to promise a kind of empire vs. provinces narrative with some kind of moral twist.

Well, that much is correct. I am thinking that this is what somewhat derivative fantasies patterned on George Martin rather than Tolkien are likely to look like (Acacia: Game of Thrones :: Sword of Shannara : Lord of the Rings). More political intrigue, a darker moral world with many shades of grey, a grimmer arc of character development.

Acacia is not terrible, as far as these things go. But it sure could be a lot better than it is, and most of the problem comes down to the basics of the prose. And that in turn maybe comes down to a bad combination of missing editorial input plus the genre-fueled need to bloat fantasy stories up to 600+ pages as if the heft of a paperback is what establishes it as a part of the genre.

The problem with Acacia is a problem that a lot of genre fantasy has: it too often reads like the detailed notes of a Dungeons & Dragons’ gamemaster about his campaign world rather than as a work of narrative fiction. The tedious (but accurate) old dictum to “show, not tell” is violated with astonishing aggressiveness within the first hundred pages, but not in any consistent or deliberate fashion. You know you’re in trouble when the king’s chief advisor Thaddeus murders a messenger who carries vital news and following a description of the act, Durham continues, “Thaddeus was not entirely the loyal servant of the king that he seemed” (and more still along those lines following). No shit, Sherlock. Of the many things that could go unsaid in the novel, this is only the beginning. Almost any of them–the lengthy expositional asides about the cultures, practices or peoples in the novel, the omniscient descriptions of characters and actions that suddenly erupt out of (a great many) viewpoint characters, could be unsaid or said minimally to vastly greater effect. As a sparce, fast-moving narrative that concentrated on its plot, it wouldn’t be half-bad. As a diagrammatic and pointlessly long act of world-creation, it’s clumsy and tedious at many points.

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Bakker’s novel The Darkness That Comes Before is in a completely different league. It reminds me of work by Frank Herbert and David Zindell: big, brawny, intellectual and philosophical speculative fiction that’s very savvy about the historical and spiritual referents it means to invoke. Rather like Herbert and Zindell, Bakker goes increasingly wrong as his series continues in the second two books of the series, where his intellectual ambitions give way to pretentious bloat. (Zindell’s latest work is especially frustrating in this way, as his protagonists become more and more a kind of spiritual Mary Sue.) But the first book is pretty gutsy and original stuff. In terms of pure craft, it’s also way more attractive than Acacia, because Bakker lets much of the characterization and situation develop within the action of the story, without omniscient interventions from an obsessive ethnographic observer. The male protagonists are fully-realized adults with rich narrative dilemmas drawn out of Bakker’s readings of human history rather than minor variations on stock genre figures. Bakker also tries very hard to develop two female characters in a distinctive way. I give him credit for trying, but by the second novel in the series, I think he falls pretty short.

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In either case, however, I feel like an editor whose main objective was to push back on divergent tendencies towards overwriting would have done either author a great if rather different service. In Durham’s case, it might have saved his book from being just another “fantasy epic” recognizable by its girth and formulaic construction, might have let a relatively interesting narrative emerge from underneath the clumsy exposition. In Bakker’s case, an editor might have pushed him to take the pretention and repetition of the later two books down a notch, to have reproduced some of the sparser and often beautiful prose of the first book in fuller measure.

I have no idea if this has anything to do with the more general view that this kind of editorial influence has largely vanished from fiction as a whole. Genre and speculative fiction often didn’t benefit from that kind of attention in the past, Patrick Nielsen Hayden’s keen eye notwithstanding. But it is frustrating when you can quickly see that shedding one or two hundred pages would make a book at the least far more entertaining (in the case of Acacia) or might move it into the category of undisputed masterpiece (in the case of Bakker’s series).

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