Woo hoo! :D
My story "Chick Food" is in the Fall 2009 issue of A Thousand Faces: The Quarterly Journal of Superhuman Fiction! The cover looks awesome!
http://www.thousand-faces.com/
Yay! ^__^
I can't wait till my contributor copies arrive in the mail. x3
Monday, November 30, 2009
Wednesday, November 25, 2009
Realism, Magical Realism, and Others
I've been thinking about the discussion in class regarding Satanic verses, specifically, whether it's realism or magical realism.
It kind of bugged me that we were discussing it as if "realism" and "magical realism" were the only options. I wanted to say more because I've made a point of studying different genre, subgenres, and groupings of fiction, and I'm really interested in the interplay between them. I like to debate what defines a genre (here I'm using "genre" to mean "type of fiction/thematic category", not "cliched fiction") and ways to blend genres, extend their limits, or confound expectations.
I tend to go on a bit in class, but heck, this is a blog, so I can ramble to my heart's content.
I feel that magical realism has frequently been used to mean "non-realistic fiction in a contemporary setting", especially when considering literary fiction. I feel that this strays from the very specific meaning coined by Marquez, fiction that strives for realism while acknowledging the subjective multiplicity of reality. I think a pristine example of magical realism would be "Calvin and Hobbes." The creator explained that Hobbes isn't a doll that comes to life only when Calvin's around, nor is he a figment of Calvin's imagination. In Calvin's perception of reality, Hobbes is an anthropomorphic tiger. In the perceived reality of his parents, Hobbes is a stuffed toy. Each person's perspective makes perfect sense to them, and they can't understand why the other party doesn't see it that way.
When strange things happen in magical realism, the narrator treats them as mundane events. This seems to fit with Gibreel's face disappearing from all images after he vanished and with pictures in the room crawling away from the exile's glare, but the degree of wonderment and acknowledgement of disbelieve the narrator shows at, for example, the mid-air metamorphosis, flying by flapping arms, etc. goes beyond magical realism.
Irrealism is a rare and confusing subgenre. Outside of scattered individual works, such as a few stories by Kafka, I've only encountered it in a single literary magazine, and that particular zine recently died. Irrealism is a world where the reality is being constantly undermined. If a carpet flies, there will be no other flying carpets, and it cannot be expected to fly again. The protagonist may order coffee and get a pot of ink, meeting all efforts to correct it with angry silence from the cafe staff. He might get a paper pad instead of a sandwich, or he might get the sandwich he ordered, or he might get the top of his head unscrewed. The only constant is inconstancy.
There may be some stretches where this seems to be the case, but then we have too many constants. An irrealist writer would not tolerate Gibreel maintaining his angel experiences for so many repeated episodes.
Fantasy is set in a world with different laws of possibility than our own. It does not have to have a faux-medieval setting with prophecies, magic swords, a destined hero, good elves and evil dragons, any more than contemporary mainstream fiction has to have coming of age, political commentary, and Christ allegories. It's a genre of possibilities, and many subgenres would fall under it, and most of them would protest. The key note is that this constructed world, the subcreation, whether it's unrecognizable or one superficially identical to our own with supernatural elements hidden from the general populace, has a system of coherent internal logic, consistency in what can and can't happen. Rushdie's consistency with the appearances of Gibreel's lover, with the halo, with the transmutation by definition of immigrants into human-animal hybrids, suggests a system of internal logic, but then why are the protagonists the only ones to metamorphose after the fall? The realistic backdrop for the fantastic elements is sometimes impossible to seperate from them.
Scifi focuses on a scientific principle and extrapolating its possibilities. Doesn't the "Lamarck was write" comment push it in this direction, albeit a very soft scifi rather than hard scifi?
Surrealism is a genre that's even harder to pin down. The best I can do is illustrate with a joke.
Q: How many surrealists does it take to change a lightbulb?
A: To get to the other side
Satanic Verses defies classification in so many more ways than the realism-magical realism dichotomy.
I will close with this quote:
"I have been a soreheaded occupant of a file drawer labeled 'science fiction' ever since (publishing 'Player Piano'), and I would like out, particularly since so many serious critijavascript:void(0)cs regularly mistake the drawer for a urinal."
—Kurt Vonnegut
It kind of bugged me that we were discussing it as if "realism" and "magical realism" were the only options. I wanted to say more because I've made a point of studying different genre, subgenres, and groupings of fiction, and I'm really interested in the interplay between them. I like to debate what defines a genre (here I'm using "genre" to mean "type of fiction/thematic category", not "cliched fiction") and ways to blend genres, extend their limits, or confound expectations.
I tend to go on a bit in class, but heck, this is a blog, so I can ramble to my heart's content.
I feel that magical realism has frequently been used to mean "non-realistic fiction in a contemporary setting", especially when considering literary fiction. I feel that this strays from the very specific meaning coined by Marquez, fiction that strives for realism while acknowledging the subjective multiplicity of reality. I think a pristine example of magical realism would be "Calvin and Hobbes." The creator explained that Hobbes isn't a doll that comes to life only when Calvin's around, nor is he a figment of Calvin's imagination. In Calvin's perception of reality, Hobbes is an anthropomorphic tiger. In the perceived reality of his parents, Hobbes is a stuffed toy. Each person's perspective makes perfect sense to them, and they can't understand why the other party doesn't see it that way.
When strange things happen in magical realism, the narrator treats them as mundane events. This seems to fit with Gibreel's face disappearing from all images after he vanished and with pictures in the room crawling away from the exile's glare, but the degree of wonderment and acknowledgement of disbelieve the narrator shows at, for example, the mid-air metamorphosis, flying by flapping arms, etc. goes beyond magical realism.
Irrealism is a rare and confusing subgenre. Outside of scattered individual works, such as a few stories by Kafka, I've only encountered it in a single literary magazine, and that particular zine recently died. Irrealism is a world where the reality is being constantly undermined. If a carpet flies, there will be no other flying carpets, and it cannot be expected to fly again. The protagonist may order coffee and get a pot of ink, meeting all efforts to correct it with angry silence from the cafe staff. He might get a paper pad instead of a sandwich, or he might get the sandwich he ordered, or he might get the top of his head unscrewed. The only constant is inconstancy.
There may be some stretches where this seems to be the case, but then we have too many constants. An irrealist writer would not tolerate Gibreel maintaining his angel experiences for so many repeated episodes.
Fantasy is set in a world with different laws of possibility than our own. It does not have to have a faux-medieval setting with prophecies, magic swords, a destined hero, good elves and evil dragons, any more than contemporary mainstream fiction has to have coming of age, political commentary, and Christ allegories. It's a genre of possibilities, and many subgenres would fall under it, and most of them would protest. The key note is that this constructed world, the subcreation, whether it's unrecognizable or one superficially identical to our own with supernatural elements hidden from the general populace, has a system of coherent internal logic, consistency in what can and can't happen. Rushdie's consistency with the appearances of Gibreel's lover, with the halo, with the transmutation by definition of immigrants into human-animal hybrids, suggests a system of internal logic, but then why are the protagonists the only ones to metamorphose after the fall? The realistic backdrop for the fantastic elements is sometimes impossible to seperate from them.
Scifi focuses on a scientific principle and extrapolating its possibilities. Doesn't the "Lamarck was write" comment push it in this direction, albeit a very soft scifi rather than hard scifi?
Surrealism is a genre that's even harder to pin down. The best I can do is illustrate with a joke.
Q: How many surrealists does it take to change a lightbulb?
A: To get to the other side
Satanic Verses defies classification in so many more ways than the realism-magical realism dichotomy.
I will close with this quote:
"I have been a soreheaded occupant of a file drawer labeled 'science fiction' ever since (publishing 'Player Piano'), and I would like out, particularly since so many serious critijavascript:void(0)cs regularly mistake the drawer for a urinal."
—Kurt Vonnegut
Saturday, November 14, 2009
The Soundtracks of Novels
I dunno if anyone else reads this way, but some stories have a definite soundtrack to me. A good measure of quality is the type of music that plays in my head during a reading, which is odd, since I don't listen to music that much.
Moby Dick, without a doubt, had the most varied soundtrack. Sometimes it was just the soft hissing surf and crying gulls of an Ingmar Bergman film. Other times I had the "whale of a tale" song from the 20,000 Leagues Under the Sea movie stuck in my head. During a few moments that old plot shanty from the host sketch of Mystery Science Theater 3000 Presents: Mighty Jack popped into my head (a nautical-style accordian tune entitled "Slow the Plot Down"). The whole thing burst into full-scale broadway musical during the "Midnight, Forecastle" chapter, complete with a bouncy underbeat and everyone clearing off as the scenery rolls up and curtains close. Whatever professor Robertson says, it seems like a textbook case of Big Lipped Alligator Moment to me.
Frankenstein had an awesome soundtrack. There were some soft, mysterious moments, with a haunting tune, maybe like the Wanderer theme from the new Dr. Who. Further into the story I encountered a lot of the theme music from the "Gargoyles" animated serial, interspersed with Carmina Burana music of the kind used to make trailers seem Epic and Awesome.
The first section of paradise lost we read had a strong backdrop, almost-screen-saver esque, just flickering midnight flames and a low crackling fire noise that was powerfully evocative.
Some books don't quite have a soundtrack though. I didn't get any musical accompaniment to Robinson Crusoe or Gulliver's Travels. "Their Eyes Were Watching God" remains likewise silent except for a few low, isolated, electric guitar chords during the pan-away description of Death's house.
Anyone else have movie-soundtrack experiences with books?
Moby Dick, without a doubt, had the most varied soundtrack. Sometimes it was just the soft hissing surf and crying gulls of an Ingmar Bergman film. Other times I had the "whale of a tale" song from the 20,000 Leagues Under the Sea movie stuck in my head. During a few moments that old plot shanty from the host sketch of Mystery Science Theater 3000 Presents: Mighty Jack popped into my head (a nautical-style accordian tune entitled "Slow the Plot Down"). The whole thing burst into full-scale broadway musical during the "Midnight, Forecastle" chapter, complete with a bouncy underbeat and everyone clearing off as the scenery rolls up and curtains close. Whatever professor Robertson says, it seems like a textbook case of Big Lipped Alligator Moment to me.
Frankenstein had an awesome soundtrack. There were some soft, mysterious moments, with a haunting tune, maybe like the Wanderer theme from the new Dr. Who. Further into the story I encountered a lot of the theme music from the "Gargoyles" animated serial, interspersed with Carmina Burana music of the kind used to make trailers seem Epic and Awesome.
The first section of paradise lost we read had a strong backdrop, almost-screen-saver esque, just flickering midnight flames and a low crackling fire noise that was powerfully evocative.
Some books don't quite have a soundtrack though. I didn't get any musical accompaniment to Robinson Crusoe or Gulliver's Travels. "Their Eyes Were Watching God" remains likewise silent except for a few low, isolated, electric guitar chords during the pan-away description of Death's house.
Anyone else have movie-soundtrack experiences with books?
Tuesday, November 3, 2009
Final Moby Dick Abridged
Chapter 41
Serious
The methodical mad maiden Ahab sought to slay the largest vampire in the sea. Her crewmen were Rozencrantz and Guildenstern.
Satirical
Moby’s here, he’s there, he’s everywhere! Beware! Beware! Beware! Hefful-Ahab and White Woozles!
Chapter 55 “Of the Monstrous Pictures of Whales”
Serious
From eldest pagan temples to the hallowed learning of modern naturalists, the whale remains impossible to picture.
Satiric
Everyone gets whales drawn all wrong because they don’t see em live swimming, but I won’t belabor the point.
Chapter 61 “Stubb kills a Whale”
Serious
A great beast is spotted, and with much pain and panic, it is brought to an end in much pain and panic.
Satiric
Stubb killed a whale. Take my word for it. Also I dozed off at watch.
Chapter 64 “Stubb’s Supper”
Serious
While hoary Ahab brooded darkly upon his thwarted aims, the Stubb and sharks reveled in their good fortune.
Satiric
In which a delicacy is prepared according such hygienic standards that the diner is prompted to enter theological disputations with the cook
Chapter 66 “The Shark Massacre”
Serious
So filled with frenzy and bold in bloodlust were the sharks that no steel stops their ferocious feasting with certainty.
Satiric
In which a pest control problem is seen too, and the educated savage displays his knowledge of civilized values.
Chapter 69 “The Funeral”
Serious
The carcass is mourned by scavengers of water and air. “Tradition” is a fancy word for fear of vast dead things.
Satiric
There’s a big dead whale floating around with stuff on it. Eeeew!
Chapter 70 “The Sphynx”
Serious
This cold dead whale has seen wisdom old and terrible beneath the wine-dark sea. Not so, for me.
Satiric
Prophetic portents and purple prose are a great way to get ahead in the novel-writing profession.
Chapter 71 “The Jeroboam’s story”
Serious
The foaming plague angel Gabriel had more in common with Azreal, yet he and Ahab share the same theology.
Satiric
In which an inspirational leader triumphs by the power of faith against an embittered tyrant, and a much-awaited letter is received.
Chapter 72 “The Monkey Rope
Serious
Dangling from an umbilicus, Queequeg was in a sour spot. Stubb’s gritty charity then spoiled my symbolism.
Satiric
In which the narrator checks out Queequeg’s shapely thighs while yanking his string and Stubb attempts to get him drunk.
Chapter 73 “Stubb and Flask kill a Right Whale; and Then Have a Talk over Him”
Serious
To supplicate the god-fearing, the two men killed an extra whale, lashed it to the boat, and called it open debate.
Satiric
Stubb lectured “This here whale is a magic talisman, and that old guy’s the devil, and god’s a guvna.” Flask asked “What are you smoking?”
Serious
The methodical mad maiden Ahab sought to slay the largest vampire in the sea. Her crewmen were Rozencrantz and Guildenstern.
Satirical
Moby’s here, he’s there, he’s everywhere! Beware! Beware! Beware! Hefful-Ahab and White Woozles!
Chapter 55 “Of the Monstrous Pictures of Whales”
Serious
From eldest pagan temples to the hallowed learning of modern naturalists, the whale remains impossible to picture.
Satiric
Everyone gets whales drawn all wrong because they don’t see em live swimming, but I won’t belabor the point.
Chapter 61 “Stubb kills a Whale”
Serious
A great beast is spotted, and with much pain and panic, it is brought to an end in much pain and panic.
Satiric
Stubb killed a whale. Take my word for it. Also I dozed off at watch.
Chapter 64 “Stubb’s Supper”
Serious
While hoary Ahab brooded darkly upon his thwarted aims, the Stubb and sharks reveled in their good fortune.
Satiric
In which a delicacy is prepared according such hygienic standards that the diner is prompted to enter theological disputations with the cook
Chapter 66 “The Shark Massacre”
Serious
So filled with frenzy and bold in bloodlust were the sharks that no steel stops their ferocious feasting with certainty.
Satiric
In which a pest control problem is seen too, and the educated savage displays his knowledge of civilized values.
Chapter 69 “The Funeral”
Serious
The carcass is mourned by scavengers of water and air. “Tradition” is a fancy word for fear of vast dead things.
Satiric
There’s a big dead whale floating around with stuff on it. Eeeew!
Chapter 70 “The Sphynx”
Serious
This cold dead whale has seen wisdom old and terrible beneath the wine-dark sea. Not so, for me.
Satiric
Prophetic portents and purple prose are a great way to get ahead in the novel-writing profession.
Chapter 71 “The Jeroboam’s story”
Serious
The foaming plague angel Gabriel had more in common with Azreal, yet he and Ahab share the same theology.
Satiric
In which an inspirational leader triumphs by the power of faith against an embittered tyrant, and a much-awaited letter is received.
Chapter 72 “The Monkey Rope
Serious
Dangling from an umbilicus, Queequeg was in a sour spot. Stubb’s gritty charity then spoiled my symbolism.
Satiric
In which the narrator checks out Queequeg’s shapely thighs while yanking his string and Stubb attempts to get him drunk.
Chapter 73 “Stubb and Flask kill a Right Whale; and Then Have a Talk over Him”
Serious
To supplicate the god-fearing, the two men killed an extra whale, lashed it to the boat, and called it open debate.
Satiric
Stubb lectured “This here whale is a magic talisman, and that old guy’s the devil, and god’s a guvna.” Flask asked “What are you smoking?”
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