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“There was an incident,” he said. “A series of incidents, I guess. A dead guy, another dead guy. Some drugs. It’s kind of a long story. Now we can see things. Sometimes. I have a dead cat that follows me around, wondering why I never feed it. Oh, and I had one hamburger that started mooing when I ate it.” He glanced at me. “You remember that?”
I grunted, said nothing.
It wasn’t mooing, John. It was screaming.
John Dies At The End was originally a story serialised on a website. Then it was published as a book. Now it’s about to be released as a movie, directed by Don Coscarelli who made Phantasm and is therefore a very cool person in my book. Here have a look at the trailer. My high concept for the story is William Burroughs rewrites Bill and Ted’s Excellent Adventure. It made me laugh, a lot. More impressive though is that it also managed to disturb me with the implied horrors bubbling along beneath the comic banter between our hero David Wong and his friend John.
As David is telling the story of his adventures – actually during the course of an interview with a reporter named Arnie – we learn that his name has been changed to make him harder to find, presumably by the obsessive fans who follow his adventures online given his growing reputation as a combater of supernatural threats. See one night David and his friend John – also not his real name – were at a concert in the town of Undisclosed (many of the details in the story are redacted for legal reasons) when they encountered a strange fellow pretending to be Jamaican and supplying folks with a drug called Soy sauce. It was a hallucinogen, those who took it experienced visions, heightened senses – as well as death. Overnight almost every person who met the fake Jamaican had died mysteriously, except for John.
The two friends quickly realized that Soy sauce is not just a drug. Following their exposure – David accidentally manages to inject himself – they become aware of strange creatures massing on the borders of this dimension. The end of the world is coming and its only hope is two confused video-store clerks who don’t really understand what is going on.
Much like House of Leaves by Mark Z. Danielewski, John Dies At The End cleverly embraces the capacity of the internet to spread stories. Through the course of the book we learn that David and John are becoming more famous, a neat parallel for the growing interest in the book itself online. This is also the source of the story’s greatest strength. By rooting itself in the commonplace weirdness of the internet – every possible combination of aliens, demons, magic and superscience is just a google search way – the book apes an almost convincing plausibility. The seeming personal testimony of Wong, the pseudonym of Cracked.com contributor Jason Pargin, is also a nice gimmick.
However, the story also has a number of poignant moments surrounding death and our awareness of our mortality. It pop-nihilism, stripping away the ponderousness of Lovecraft’s Cthulhu-beasties but retaining the crushing awareness of our cosmic insignificance, is surprisingly compelling. There is a lot of laughter to be found in these pages, but also a creeping sense of dread.
Finally it must be said the ending for this book, a book which is relentless in its foreshadowing of endings, is simply perfect. I cannot wait to see the movie.
In any event, there is one conclusive answer to “it’s only a movie.”
That answer is: You’ve already bought a book whose whole purpose is to discuss meaning and consequence in the Star Wars Universe! Everybody who contributed, from accuser to defender, believes there is something worth arguing about. We’ll do it because the topic matters, or because it’s fun to argue, or because we’re being paid to argue. Most likely, all three.
A few weeks ago I had the pleasure of speaking to Alexandre O. Philippe, director of The People Vs George Lucas (interview for Filmink magazine here). The film itself is well worth checking out, as it perfectly captures the – to outsiders – seemingly inexplicable fanrage of Star Wars devotees. However, even if the rantings and ravings on camera are not something viewers can relate to, a person would be very hard-pressed to claim they had no idea what Star Wars was, or who George Lucas is, or even – what is the Force? So from that point of view, it is difficult to write off the science fiction franchise as being ‘just for kids’, although on the opposite extreme it is equally hard to insist that it is actually a twentieth century monomyth with a straight face.
Confusingly Lucas himself has made both claims. That is just a hint of how contradictory the man’s relationship with Star Wars is.
Star Wars on Trial amusingly sticks to a court-room cross examination of the franchise itself, its strengths and failings, and the effect it has had upon the various industries swallowed up by Lucas’ empire. David Brin, following on from his evisceration of The Phantom Menace in 1999 for Salon, argues for the prosecution. Matthew Woodring Stover, also a science fiction writer, is our plucky court-appointed defence lawyer.
Perhaps that is where the problem lies with this book. Brin is presenting a critique of a series of films and their subsequent spin-off materials on the understanding that this is an intellectual exercise. Stover appears to think he is in Law and Order. The banter between the two ‘opposing counsels’ starts off being amusing, but as the argument progresses, the Lucas loyalist seems worryingly earnest, becoming insulting even at times. To wit, his attempt to frame Jeanne Cavelos’ excellent piece ‘How the Rebel Princess and the Virgin Queen Became Marginalized and Powerless in George Lucas’s Fairy Tale’, as an appeal for overt onscreen cruelty towards female characters (this is in response to the complaint that the heroine Padmé dying of a broken heart is dubious at best in this technologically sophisticated universe).
The witnesses are themselves writers or cultural theorists, who present their evidence and are then questioned by Brin or Stover. Amusingly a ‘Droid Judge’ presides over these interactions. The topics argued include the political subtext of the series, its status as science fiction – Brin argues that it is fantasy literature in drag, the would-be mythic significance of Lucas’ work, alleged plot-holes, mischaracterisation of women within the franchise and finally its legacy for the film industry.
This book has one undeniable highlight for me, a moment of pure ‘gotcha’ brilliance. For years I have heard that the Force draws upon Buddhism, Taoism, y’know that whole ‘Eastern’ lark, to pad out its pseudo-religious significance. Witness for the prosecution John C. Wright disabuses Stover of that notion quite brilliantly during the cross-examination. Robert A. Metzger mounts an especially, uh, interesting defence, arguing that Lucas has actually created a work of Gnostic significance. I found that quite fun, but hardly convincing.
One point that is made, and relates particularly to Stover who has written novelizations of the films, is that this ‘Lucas empire’ has provided a lot of writers and creators starting out with excellent opportunities. However, the counter-argument is that this in turn has led to a monopolization of both film and publishing, with science fiction itself sandbagged by the imagery and concepts of Star Wars, excluding ideas and concepts too alien for a galaxy far far away.
Overall I found this to be an intriguing and entertaining dialogue on Star Wars, but also an occasionally frustrating one. Thankfully it is more thoughtful and well-reasoned than your average chatroom debate though.
For indeed I am the sort of charlatan they seek to discredit. I am not what they say I am, but my deceptions are harmless and, I do believe, helpful at a time of personal loss.
I am a very nervous sleeper and sadly in our new abode the sound of passing vehicles – not to mention overhead flights – causes our little unit to wobble somewhat. Every time I jolt awake. This, as you can imagine, is quite annoying. But then I made the mistake of joking that any other creaks and steps could be the sounds of our own personal poltergeist. My beloved other half immediately freaked. See personally I cannot really see any reason to fear the ‘other side’, psychic phenomena, ectoplasmic stains, or indeed fallen angels. I lie awake at night terrified about home invasions and a piece of satellite falling from space and impacting on my roof…but the supernatural? Completely uninterested in it.
Magic as such is something I have difficulty with, because it seems like so much empty spectacle. There is a necessity to believe in order to be halfway impressed to begin with. In The Prestige Christopher Priest attempts to straddle that borderline, that fudging of spectacle and the occult.
The rivalry between two late 19th century magicians comes to consume both their lives, a dual obsession that spurs them into more audacious feats. The Prestige presents the respective accounts of this contest from the points of view of Alfred Borden and Rupert Angier. This is not merely competitiveness, with both parties going out of their way to sabotage their rival’s acts. As they are both practiced in exploiting the gullibility of their patrons, whether it be through stage magic or séances for the dead, they know the weak-spots of each other’s craft, the key moment to stage and accuse the performer of being a fraud.
Then Borden’s act ‘The Transported Man’, involving him appearing in two places on stage mere moments apart, drives Angier to even more outrageous efforts. Borden has not employed any trickery that the other magician recognizes. He has somehow managed to achieve genuine magic. In his attempts to top the ‘Transported Man’, Angier travels to America and returns with a revolutionary new act ‘In A Flash’. Having consulted with the genius scientific recluse Nikola Tesla, Angier seemingly has confounding the laws of physics itself. Both men become so consumed by thoughts of revenge, that their intentions soon border on murderous.
The story is bookended by their descendents attempting to discover the reasons behind this intense rivalry, which has actually survived their deaths – assuming that the diaries left by Angier and Borden actually do present an accurate picture of events.
This is the second book by Priest that I have read. The first, The Inverted World, rested on a central idea that was quite interested, but the book overall felt strained. The Roshomon approach of The Prestige should create a sense of mystery, but once Borden’s secret – hinted at by suggestive choices in language during his diary – becomes clear, the book feels like it is frustratingly delaying the moment of the reveal.
Priest’s writing imitates the suspense and suggestiveness of the magician’s performance, but the characters are so deluded by their mutual hatred that their insistent company becomes wearying. The shared love of a woman named Olivia comes to seem spurious – is she just a beard for their homoerotic fascination for one another?
There is an interesting moment when Angier describes his impressions of Tesla “when I had seen his lecture in London he had all the appearance of a member of my own profession, taking the same delight in surprising and mystifying the audience, yet, unlike a magician, being more than willing, anxious even, to reveal and share his secrets.” Of course that was Tesla’s tragedy, that he did not guard his insights jealously enough.
The historical asides of this book are momentarily interesting, but for the most part The Prestige feels overlong and wearying with its venom and spite.
Lint’s first novel was published by Dean Rodence’s Never Never company in New York. The relationship between Rodence and Lint was one of complete mistrust, rage and bloody violence. When submitting work in person, Lint insisted on appearing dressed as some kind of majorette. ‘He was a large man and clearly wasn’t happy at having to do this,’ explains Fleece. ‘He blamed Rodence, was resentful. I still don’t know where he got the idea he had to dress that way when handing his stuff in.’
Obviously I had to come back for more.
Lint is the biography of a eccentric science fiction author named Jeff Lint, detailing his career writing for pulp magazines such as ‘Startling, Astounding, Baffling, Useless and Terrible‘ to his abortive animated show Catty and the Major and finally his retreat into reclusiveness, interrupted by the occasional obsessive fan. Steve Aylett describes the circumstances surrounding the conception of novels such as One Less Bastard, The Stupid Conversation and I Blame Ferns, as well as his controversial comic book The Caterer.
Aylett also discusses Lint’s series of failed marriages, including one union which collapsed when a presumed facial scar belonging to the author was revealed to be a sleep-crease and then there’s his fractious rivalry with fellow author Cameo Herzog, who goes out of his way to destroy the career of the bemused Lint. Success came tantalisingly close for the writer. His forays into entertainment produced scripts that eventually became Patton and Funny Girl - although the final screenplays were entirely different (George C. Scott is revealed to have been quite fond of Lint’s original piece Kiss Me, Mister Patton) He had less success with Star Trek, deciding to emphasise the essential boredom of Gene Roddenberry‘s future utopia with an episode titled The Encroaching Threat. While the teleplay was never filmed, Aylett shares with readers some highlights of the script including:
For the duration of ‘The Encroaching Threat’ the new character Chekov is said to be ‘flirting with McCoy’ and Sulu is repeatedly seen ‘lurking’ near a doorway while ‘sinister theramin music’ plays.
As it happens this book has been made into a film, a documentary in fact on the life of the mysterious Lint, with the likes of Stewart Lee, Jeff Vandermeer and Alan Moore appearing to discuss the legacy of the author. Here‘s one of the teaser trailers released.
This is possibly the funniest book I have read in….it’s the funniest book I have read! Jeff Lint is part Philip K. Dick, part L. Ron Hubbard, with a couple of other parodies thrown in to the mix as well. Aylett’s insistence on the writer’s genius, investing great meaning into his every utterance such as this line from his autobiography The Man Who Gave Birth To His Arse: ‘What I wrote then was a surrender to the bathysphere part of the human mind. Despite platitude universes beyond the door, I dealt in squalls of unimaginable intensity. I was in the fully-fledged moment. Happy and volatile, I roared through the labyrinth of bad gems,’ - making for a very amusing, neat satire of academic overanalysis.
One final story. While I was enjoying Lint on the train home from work one evening this young woman across the aisle started loudly conversing with a friend on the phone. I very quickly knew more than I cared to know about her social life, her education and opinions on said friend’s intelligence – so I, in turn, began to read from Lint, loudly and clearly, declaiming Aylett’s absurdist wonderland to the carriage at large.
I still maintain that my obnoxious performance was the more entertaining of the two.
Read Lint. It’s good.
Desjani looked intrigued, checking the orders herself. “You’re sort of tacking the old Five Five onto the bottom edge of Five Four.”
“With the Seventh Battleship Division sticking below the edge of the old Five Four?” She smiled again. “I can’t wait to see it.”
As long as we’re not talking about the likes of the literature of Holocaust denial, or of paedophilic samizdats presenting Josef Fritzl as the heroic victim of an immoral and corrupt state, then there really is no such thing as a guilty pleasure where the enjoyment of a work of fiction is concerned. We know this. Certainly there’s nothing in the slightest that’s immoral about Jack Campbell’s The Lost Fleet, an apparently never-ending series of novels concerning the attempts of “a rag-tag fugitive fleet on a lonely quest” for home, as Patrick Macgee’s opening voice-over for the first series of Battlestar Galactica used to put it. In truth, these books are marked by a deliberate and principled tone which might be thought to reflect the self-restraint of a patrician cynic and his compassionate misanthropy, and Mr Campbell’s epic seems obviously meant as a cautionary tale against the tendency of human beings to fail to heed the lessons of the past, or, indeed, those of the present day either. In that, The Lost Fleet is a profoundly conservative text in terms of the need to respect authority and retain the tested values of the past, but it’s written in such a way as to also deplore such recent examples of backsliding from the principles of Western civil society such as torture, the brutalization of civilians, and the general abandonment of respect for the human rights of supposed opponents.
Beyond the central and incorruptibly heroic character of Captain “Black Jack” Geary himself, who’s both unconvincingly irresistible to women and quite incapable of slipping up in his campaign against the dastardly Syndics, the Lost Fleet is almost exclusively peopled by thinly-drawn moral idiots. This is didactic fiction of the most well-meaning and clumsy fashion. On one side, anti-democratic and glory-obsessed ship’s Captains who’d like to see Black Jack return to Earth as their tyrant, and, on the other, anti-democratic and glory-obsessed ship’s captains who’d like to dethrone our hero because, quite frankly, he keeps winning battles while denying them their chances of individual acclaim. For the military of this far future is enraptured by an individualistic fighting ethos more in keeping with Captain Bluntschli than poor noble, sensible Captain Geary, and most everyone in The Lost Fleet is at best ethically and practically short-sighted, and, at worst, some combination of mad, corrupt, confused or stupid.
I recognise this world. If the characters are so broadly drawn as to be indistinguishable from their own ignorance, well, their ignorance is at least familiar. I’m certainly not ashamed to be consuming a product with such a world-view. And in a book that’s so obviously aimed at readers who love to lose themselves in the details of how hundreds of very big and very powerful spaceships can blow each other up, and in the context of a recognisably modern-day military structure transposed to a distant tomorrow, it’s also refreshing to note that political authority is here portrayed as being by necessity superior to that of any futuristic MacArthur’s, worthy or not.
But there’s little room that’s been made in these novels for anything but space battles and the broadest politics of the fleet, and each book’s plot is soon revealed to be an over-familiar and yet rather strangely relaxing variation upon that of its predecessors. The Lost Fleet, trapped behind the lines of the Syndics and desperate to return home after a disastrous defeat, will arrive at a new enemy star system, argue among themselves about who should be in charge, learn a new lesson about how to fight as a team under the leadership of the good and decent Captain, and then head off in the direction of another such situation. The formula is never substantially challenged, and the focus of the text never concerns itself with the lot or inner life of anyone who isn’t wearing a Captain’s uniform or carrying a politician’s brief. And, similarly, each book contains pretty much exactly the same minor notes to accompany the great and very long depictions of battle and grousing senior officers; Captain Geary indulges modestly in sex and the stiffest of philosophical debates with the perplexing and very loud Co-President Rione; Captain Geary sits in his captain’s chair and guides several hundred ships in their missions; Captain Geory gathers hints as to the existence of a secret and menacing alien race; Captain Geary attempts to convince the Syndics that their mortal enemies are jolly good chaps really; Captain Geary tries to remind his women and men about the forgotten decencies of his long-dead era; the same cards fall in almost precisely the same order every time.
There’s something about this repetition which makes the many unconvincing aspects of the future of the Lost Fleet less distracting than it might otherwise be. It’s as if the form of the books has been designed to encourage us not to linger anywhere on the page, as if pausing in our skimming would be to defeat the purpose of the text in the first place. And so, the sheer implausibility of a legendary Captain freed from a hundred year’s suspended animation who’s immediately able to command a host of spacegoing warships in a superior fashion to their own crewfolk is actually quite easy to disregard. By the time the daftness of each daft premise becomes obvious, the reader has already learned not to pay too much attention to the strangely critically-applauded “realism” of these tales. If the politics of the future appear confused, as they are with the Syndics, a North Korean-like totalitarian state with relatively autonomous and affluent corporations, or if the much-praised realism of the space battles is undermined by the presence of get-out-of-jail-free cards such as jump gates, inertial dampners and an unconvincing lack of human/AI interfaces, well, we can just skip that aspect of the story and move on to another sequence which we can, similarly and in its turn, leap-frog our way across too.
Racing dreamily through the text is a process only encouraged by the fact that little on the human scale counts for anything much in these Lost Fleet novels at all. Even the extremes of wartime experience, the maiming and murdering of thousands of crew-members of the Alliance’s ships, always occur at a celestial distance and to a spectacularly deadening degree. The focus of the books is instead always upon the smallest core of cast members, who, untouched by suffering beyond angst and safely protected in the fleet’s flagship, watch on as this cruiser and that space station are bombarded and destroyed. As a reflection of the reality of war for the elite of the officer class in a technological era, it’s a choice on Mr Campbell’s part that’s hard to argue with. But as a way of helping the reader care about these terrible events, it’s problematical, because it reduces a book about war to the status of a tale about a man watching a war progress on a desk console.
With so few characters ever interacting with Captain Geary on any level beyond the giving and taking of orders, the Lost Fleet is reduced to a great convoy of ghosts. Thinly depicted Captains are summoned up now and then for plot purposes, but they never exist beyond the brief functions which they’ve been created to serve, and the reader can so easily picture them vanishing into thin air as soon as Black Jack turns his gaze elsewhere. Mr Campbell’s writing succeeds in delivering the details of his plot, but there’s no trace of individuality and character in his prose. Entire books can pass mechanically before the reader’s eyes without the flat consistency of Mr Campbell’s prose being violated by the presence of a single purposefully memorable phrase of any sort. His is writing which is utterly endearing in the lack of authorial ambition that it displays, and for all that it might be praised for a lack of pretension, it can also be damned for its lack of any quality that isn’t connected with the orderly progression of events from A to B and back to A again.
And yet, regrettably, there are moments when careless editing has allowed certain melodramatic and pseudo-poetical lines to remain in the text, a fact which destroys the flat consistency of what’s being read as well as shocking the reader into noticing how awful the writing can in places be. It’s a truth that might be illustrated with an example from “Courageous” of President Rione’s part in a private conversation with Captain Geary;
“The ancients thought the stars were gods, John Geary. So do we, though in a very different way. But we’re not so different from the ancients, who lived but a blink of an eye ago in the sight of this universe and spent their lives trying to understand why they were here and what they were supposed to do with the gifts of their lives. I try never to forget that.”
I feel confident that we might agree that this is ferociously bad writing, grandiose, stiff and quite unbelievable even as an example of a career politician’s private conversation. (Rione would surely need the lungs of a horse to get through that third sentence without beginning to collapse for air.) But it’s so typical of the books that these moments of great meaningfulness carry little that’s essential to the plot, and so they can be left behind in search of the beginning of the next space battle. Yet, the reader is advised not to race onwards and away from the purple serious-mindedness of the conversations between Rione and Geary in particular without first scanning for any heartfelt lines worth treasuring. My favourite of these conveniently follows on directly from the quote above;
“He nodded, wondering once again at the woman inside Victoria Rione.”
If only that were an acknowledgement that the Co-President was actually sharing the inside of her body with another woman, as the genre would surely allow.
Yet if The Lost Fleet clearly doesn’t work as anything other than the most reliably wooden of genre fiction, it’s certainly a well-constructed, sincere and decent-hearted example of it. And so, the reason for my feeling somewhat ashamed of being half-way through the fourth of this seemingly never-ending re-mix of the same over-familiar elements is nothing to do the books themselves. They’re not sold as high literature, they make no claims for their own poetic virtues, and they’re not designed for anyone who’s not already seriously predisposed towards “military science fiction”. They’re respectful, populist and humane. No, my shame is directed, of course, at myself, and at the fact that I’m somewhat hesitant to admit to the business of reading my way through The Lost Fleet. As I write this, with the last of the light of a English Sunday afternoon in March slanting through the window behind me, and with a blackbird starting up its twilight song, The Lost Fleet feels as if it’s got no part in my life at all, and it’s as if reading these pedestrian epics would be a serious waste of the relatively limited book-reading time that I have left to me.
It’s not that I’ve any time for the Bloomsbury stance on what is and what isn’t art, and I no more believe under typical circumstances that what we read reflects our soul and our moral worth than I accept the premise that Jeanette Winterson shouldn’t be constantly mocked for her ignorance, arrogance and pretension. It’s just that there’s so little time and so much to get done, and it’s hard at 5.30 in the afternoon to justify a standing order for each new volume of The Lost Fleet.
But when it’s gone midnight, and as I crawl as surreptitiously as I can in beside the long-since-sleeping Splendid Wife, and with just ten minutes or so to go before I too pass out beside her, The Lost Fleet will be the most appropriate read that I can imagine. Utterly undemanding in its content, I need never worry about finding precisely where I left off the night before. It just doesn’t matter at all. Wherever I am, Black Jack will be eternally tragic, misunderstood, potent and entirely wonderful. (He’s every shy boy’s dream of sexual potency; a man who can win women without ever having to woo them through nought but his gentle soul and military prowess.) The fleet will be at terrible risk, Captain Desjani will adore Black Jack and defend his back against all-comers, the battleship captains will loathe him, the Syndics will be closing, and I’ll briefly if sleepy-headedly be a boy again. Spaceships will blink out of jump points, scanners will identify enemy targets, relativistic effects will complicate communications, and while little will make much sense to my clouding mind, the genre conventions of a dozen spaceship TV shows and a childhood spent reading little but Sci-Fi will step in to carry the sense of the story forward for me.
I have the fifth volume of The Lost Fleet waiting beside my bed and the sixth on order from Amazon too. It’s not that these books will be used to send me off to sleep, but rather that they’re good and decent and kind and undemanding companions as I decline into an unconsciousness which was already rolling towards me in the first place. And even the titles themselves might inspire the most comforting of slumbers if recited over and over again in order of publication; Dauntless, Fearless, Courageous, Valiant, Relentless, Victorious…….
Colin Smith ,
First of all, flick that Doubting Thomas switch. Go-Go Girls of the Apocalypse, by current X-Men writer Victor Gischler, is an insane train ride full of Go-Go Girls, home surgery transexuals, cannibalistic hicks and … train rides. The situations are so incredibly unbelieveable that it walks the fine line between absurdity and genius.
Thankfully Mr Gischler manages to dance on both sides of that line, making for a fantastic character driven story which is silly, ridiculous, sexy, moving and horrifying all at once. The post-apocalyptic world that Gischler has created may not be believeable but it certainly is plausible. The world is in chaos. Fuel and food are in very short supply. Governments have fallen. All that remains are the most important of things, booze and nudey girls. Nowadays, boobies make the world go round.
Insurance salesman Mortimer Tate runs away from his wife so that she can’t serve divorce papers on him. Fearing the end of the world if his marriage were to dissolve he flees to a mountain cabin, just in time for the world to end. Governments have crumbled and society has all but destroyed itself. After spending nine years by himself, living of canned food and a coffee a day, he leaves the cabin only to run head long into trouble. It’s at this point that we are introduced to Buffalo Bill. Bill is the rootinest, tootinest gunslinger that Mortimer has ever met. Bill has taken on the appearance and personality of THE Buffalo Bill. Bill and Mortimer wade through an endless sea of psychopaths and backstabbers all in an effort to reach his ex-wife, to ensure her safety and face the music.
Gischler’s wry and sardonic wit make it incredibly enjoyable to watch our players battling flesh eaters and rapists. Such dark material could easily have set the tone for the entire story, however, Gischler has managed to create some very believeable characters. Rumour has it that a feature film is in the works which is no great surprise. This novel reads like a gritty, high budget action film full of action and adventure, freaks and geeks, cannibals and sexy gals. The story is filled with some really great dialogue and I can only hope that the film reflects this. This is where the stories heart lies, in those quiet moments away from the madness and mayhem. A moment of peaceful reflection shared between two characters in a world gone mad.
Part homage, part satire of the post-apocalyptic genre, Go-Go Girls… is a wonderfully written piece of modern fiction comparable to the work of Vonnegut and to a lesser extent Douglas Adams. It’s rather tricky to locate here in Australia so perhaps a visit to Amazon would be easier. Regardless of how you get it, this is a fantastic read for those who don’t mind having a laugh at the sick and twisted. If you’re easily offended… read it anyway.
My journal is filled with illustrations and photographs – and yes, even postcards – of places I have been. But let me make one thing clear. I never traveled back in time for fun. I never meant to anything bad. All I ever wanted to do was learn from the past and share what I learned with everyone I could. But most of all, the main reasons I continue with time travel is to find my parents who disappeared so long ago.
Lori over at The Next Best Book Club has proposed a very interesting initiative. She is gathering together book bloggers to create a network dedicated to indie books and self-published writers. It is a very good project, so go and have a look. Shortly afterwards I got an email from today’s author Scott Cardinal, along with a pdf of the novel, which he co-wrote with his cousin Marc Newman, who apparently teaches history in period costume!
This is quite a telling statement, as The Adventures of Justin Tyme (subtitle Mother Jones: The Most Dangerous Woman in America Volume 1) features a village dedicated to maintaining the lifestyle and conduct of late nineteenth century peasant life in America. It is evident that Cardinal and Newman truly believe that greater attention should be paid to the historical past and they make a good case for such an imaginative project for a community (despite this being a work of fiction….with Native American mysticism and time travel, but I’m getting to that).
Justin Tyme parents have been planning to move to family to work with relatives in the experimental commune of Asheville, North Carolina. Before their final departure from New York, exchanging all the modern amenities of city life for hemp clothing and horse-travel, Justin’s mother and father vanish. Left distraught, the teenage boy has no idea where they might have disappeared to. Knowing that his parents were involved in doing secret work for the government, there is a good chance that they could be anywhere in the world.
Justin’s aunt and uncle bring him with them to Asheville as originally planned. The novelty of the small town serves to distract him from his recent loss and shortly after arriving he makes two new friends, Jett and Catrin, who explain to him what the purpose of the township is:
“Basically, they felt most schools at the time – and even today – made no effort whatsoever to prepare students for the real world, but merely taught them basic information and made sure they could read and write. That just was not enough. That has never been enough. So our curriculum herehas always been, and always will be, quite different from your normal everyday school. In other words, we really learn great stuff here!“
However, one resident of the community seems not to approve of its benevolent intent – Professor Woolkins, who has been entertaining corporate types looking to buy the land and convert it into a tourist attraction. His history lessons on the use of child labour in America during the industrial revolution are also disturbingly critical of the notion of protection laws for minors and he has an unusual collection of artifacts in surprisingly good condition.
This is where the time travel comes in. I do not want to give away too much, but given the title, yes our young hero does discover a method of journeying back through American history and even meets Mother Jones. There is also references to alien visitations, the aforementioned Native American mysticism – the tribe in question here is the Cherokee – but what grabbed my attention here was something far more interesting.
This is ostensibly a work of educational fiction, but it also represents a stout defence of trade unionism and a critique of how society exploits children. Unfortunately while child labour laws were passed in the United States, the depravity and miserable conditions witnessed by young Justin in 1903 persist today. In countries like India and China, and many other places too for that matter, companies in pursuit of high profits continue to use children to do tiring and dangerous work.
For this aspect of Cardinal and Newman’s novel I feel I must applaud them. This is not only an enlightening piece of children’s fiction – and how often do we hear that – but it is also a welcome critical voice against rampant profiteering, at a time when such methods are once again seen as the norm.
Fun, informative and surprisingly impassioned.
With thanks to the author for my review copy.