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People loved having time machines – but hated the government-imposed restrictions on what they could do at certain key events in history, and the Crucifixion was perhaps the most controversial. Yes, you could go there, but only in ghost mode.
‘Yeah the number of people who complain to me because they can’t save the Lord, or take His place, or who want to give Mary a hug or a biscuit. How do you stand it?’ Malaria has only recently started working at the shop.
‘Maintain a sense of humour, Malaria. It’s your best defence.’
Have you ever seen the 1960’s film version of The Time Machine? Here have a look at the trailer. I principally remember this film for its terrible attempt at showing the passage of time. The Time Machine is parked opposite a shop front window and as the Traveller goes forward in time, he notes how the fashions worn by the mannequins change with each year. It is such a cheesy way to show the abilities of a machine that can skip through history, but it perfectly illustrates the problem with time travel as a story device. As The Doctor has observed, time travel stories tend to result in ‘wibbly wobbly timey wimey…stuff’, the very non-linearity of the protagonist’s adventures leading to extreme headaches for the reader in plot progression.
K.A. Bedford’s principal character, Aloysius ‘Spider’ Webb shares these frustrations. He hates time machines. Unfortunately for him, time machine repair man is the only job available to him. Drummed out of the police force despite a promising career, due to making enemies of the wrong people, Spider was broke before meeting the very charismatic ‘Dickhead’ McMahon, who offered him a job as an engineer at his business. He makes enough money to get by, has some good staff working with him and receptionist Malaria makes a mean cup of coffee.
One afternoon during what seems to be a routine repair job, Spider and his assistant Charlie discover that the second-hand time machine they’ve been called out to have a look at is exhibiting very unusual power fluctuations. Almost as if it is present in current space-time and yet also elsewhere. When they return it to shop, they manage to contain it inside a miniature pocket universe before accidentally detonating it. Amid the destroyed shell of the original unit, they see another time machine, sitting in the very same hermetically sealed space. Inside Spider finds a dead body of a woman.
As a former cop, he finds himself compelled to investigate the mystery, but knows that anything involving time travel means trouble. After all that was how he lost his job with the police force in the first place. He has a decent job that pays enough that he can tolerate Dickhead’s weird rants about angels. His personal life is a mess. His wife Molly has insisted on a trial seperation and the officer in charge of the investigation into the mysterious dead body, Iris Stone, was a former lover of his. He just wants to keep his customers happy, enjoy a nice cup of coffee and leave time well enough alone.
Then his future self shows up one evening and starts babbling about him being framed for murder, conspiracies involving a group named Zeropoint and a civil war at the end of time itself. Seems no matter what Spider does, he can’t live the life he chooses.
According to this novel’s cover jacket, it was shortlisted for the Philip K. Dick Award in 2009. I actually found a number of similarities to the master of bluecollar sf. Not only is the very fantastical notion of time travel itself reduced to a 9 – 5 job, Spider’s relationships also bear a strong resemblance to the complicated lovelives of protagonists in Dick’s fiction.
Sadly the book is just too long. Philip K. Dick would often introduce a scenario within a seemingly ordinary world, only to throw all sense and reason out the window within a hundred pages. Bedford has Spider meet different versions of himself from wildly divering timelines and get swept up into a chronal war spanning millenia. There’s simply too much going on.
I did like the offhand humour of the story though, the frequent references to cult shows like Twin Peaks and The Prisoner, as well as the hints that Africa is the industrial capital of the world in the future.
A mixed bag for me then, but it kept me entertained throughout, despite the frequent head-scratching.
He gestured to the fireplace, over which hung a large framed photograph of the billionaire Da Vinci Code author, signed personally to Jean-Noël. “Look at that chin – it is the chin of a genius.” He ran his finger down the cleft of his own and mourned its inadequacy. “Mind you, I thought Digital Fortress was a piece of shit.”
Way back in 2008, when folks asked me why I intended to move to Australia, I would mention an assortment of reasons, such as the good food, sturdy economy, availability of jobs – but also another factor which caused some consternation. Namely Australian television. I am not talking about Neighbours, or Home and Away, but panel shows such as Spicks and Specks, a very funny programme that’s half music trivia quiz, half mad-cap variety hour (half hour!).
It was the good humoured content that surprised me. I grew up with Irish sarcasm and cutting British wit. Satire is the currency of my home’s entertainment, with a fair dollop of black comedy and schadenfreude. Australia seemed to me to have embraced an entirely different comedic ethos, fair dinkum banter and harmless absurdism.
Which was how I first discovered Shaun Micallef. His delivery of lines, whether it be as a comedic player, or host of the show Talking About Your Generation, seems initially quite poised, until you realize he’s speaking utter nonsense. When I discovered he had written a novel, I had to investigate what genteel gonzoism he had served up this time.
So what is the book about? Well our omniscient narrator is attempting to tell us the story of Alexander Pruitt, murdered in 2005, only to be reborn in Cromwellite Britain in 1657. Which, through a series of plot contrivances involving time travel and the etymology of the word ‘twig’, it turns out is the period most suitable to him.
Of course as history itself is warped by the events described, our trusty narrator might not even get to finish the book we are reading, or sell the rights to Hollywood, with the maniacal Tom Cruise playing him in an eventual movie. So we have two races to the finish line here, Alexander Pruitt desperately seeking out the meaning of his existence, while torn between two periods in history (as well as a brief cameo in a third); and our narrator hoping to sell out as quickly as possible before his intellectual property is unwritten.
Throw in some Masonic conspiracies, a nice hefty dig or two at Dan Brown’s expense, badgers and Blade Runner, and we have ourselves a novel. Oh and just to top it off the secret identity of Jack the Ripper is also revealed.
If this book were to suffer the indignity of a high concept, I would describe it as P. G. Wodehouse meets Philip K. Dick. It is fitting that the head of Philip K. Dick has reappeared as an A.I. oracle. Perhaps someone should ask it what it thinks of Micallef’s novel. It is manic, absurdist fare, that doesn’t take itself seriously for even an iota of a second. Conspiracies are revealed to be vapid plots without rhyme, or reason. History itself is a mutable, simultaneous projection without purpose. And Tom Cruise is a very scary individual.
The narrator’s Hollywood adventure feels like a random digression, but by that point you have become used to the editorial spats asterisked at the bottom of pages, as well as parenthetical asides to the reader, assuring them that it will all make sense in the end. I laughed out loud when Cruise himself begins to interrogate the narrator as to his peculiar ‘omniscience’, over the proceedings of the plot. It’s a brilliant moment.
If I go any further I fear this review will collapse into a puddle of sycophantic loquaciousness. Needless to say, I quite liked it.
“All right,” I said; “suppose the characters exist in the author’s mind, like the events; where does the value of invention come in?”
“Where the value of any invention comes in,” he answered. “In its purpose or use. A wheel spinning aimlessly is worth nothing; the same wheel on a cart or a pulley changes destiny.”
“You can’t learn anything from fairy tales,” I persisted stubbornly.
He smiled. “Maybe you havent read the right fairy tales.”
Damn. I got very excited by a certain stylistic quirk that I noticed in this book. Mr Ward Moore had seemingly written the entire thing without using apostrophes. You might see above he has written the contraction ‘havent’. Unfortunately right above that line of dialogue, he gives narrator Hodge Backmaker ‘can’t’.
Well there’s that theory blown out of the water.
Eight years ago I was working with a woman from Texas who used to proudly claim to share common descent with George Bush and Queen Elizabeth. What I found odd was not the claim itself, but that it was obviously so important to her. Of course I say that as an O’Cuana and we have done anything to be proud of in a thousand years.
I say this as the notion of historical prestige is not something I guess I can understand. Moore with this book examines not just the premise of an America with an alternate history, but the importance of being able to draw descent from the respective sides of the Civil War conflict.
Hodge Backmaker begins his narration telling us that he was born in 1921, but that this is being written in 1877. Neither the dates nor the tenses are error – let me explain. The fortunes of the Backmaker clan are inextricably linked with the events of the Civil War, when the Union lost to the Southron forces. What ensued was a near half-century of economic ruin for the Yankee territories. A prevalent xenophobia for foreign nations became the dominant political rhetoric. What’s more while slavery was abolished, most citizens are so impoverished they agree to a system of indenture to corporations until they are too old to be of use. Moore even includes a few alternate history jokes. George Bernard Shaw died a little-known reverend. Carl Jung became a police chief.
Hodge is something of an anomaly, in that he sees no future in labouring to support his family and prefers to spend his time buried in books. He dreams of putting his love of reading to some good use, perhaps even becoming an academic in one of the dilapidated academies that still exist in the Union. To that end he sets off for New York with his fortune of three dollars in his pocket.
The countryboy from Poughkeepsie notices that the metropolis lacks the skyscrapers of Confederate ruled Washington, but remains a glamourous sight, with its airborn zeppelins and thronging multitude. Of course the awe-struck yokel quickly falls on bad luck, which sets him on the path to a meeting with a bookseller named Mr Tyss and the revolutionary Grand Army.
Moore’s novel is concerned not only with history, but with the notion of an objective observer of history. Hodge learns a new understanding of events from two men, Tyss and the Haitian Ambassador M’sieu Enfandin. The one insists that history itself is predetermined; the other that man is free to choose his destiny. Hodge himself lives frozen by indecision. In that his character is a sly dig at the pretence of historians to be unbiased spectator to events. Tyss mocks him for even desiring to be impartial, stating that his love of history is simply a desire to hide from action.
It is a very fine joke, made all the funnier by Moore then sending Hodge on a fantastical adventure that explains the riddle of the book’s opening lines. This is a gripping novel of ideas, one I am very surprised to have never heard of before. Much like Philip K. Dick‘s The Man In The High Castle the book seeks to outstrip being merely an alternate history yarn, with far loftier themes in mind.
I also enjoyed how like Hamlet, Hodge is not the virginal prevaricator popular opinion might assume him to be. He’s actually quite the ladies man. He simply refuses to take responsibility for his actions, or indeed any commitments at all.
A thoughtfully written investigation of American history, with a sf glaze.
He turned to the back of the paper, and studied the advertisements. For sale, one Lilliputian, good needleworker. For sale, two Lilliputians, a breeding couple; one hundred and fifty guineas the pair. For sale, stuffed Lilliputian bodies, arranged in poses from the classics: Shakespeare, Milton, Scott. For sale, prime specimen of the famed Intelligent Equines, late of His Majesty’s Second Cognisant Cavalry; this Beast (the lengthy advertisement went on) speaks a tolerable English, but knows mathematics and music to a high level of achievement. Of advanced years, but suitable for stud.
My first exposure to Jonathan Swift was not Gulliver’s Travels, but his satirical essay A Modest Proposal, an attack on the view held by the English that the Irish were a barbarous people. Let’s just say it spoke to me. When I saw the title of Adam Roberts’ book I was intrigued. How would he go about writing a sequel of sorts to Swift’s most famous work? As it turned out his objective was a broader one than that, touching on several authors during the course of the novel.
Abraham Bates credits himself as a moral man, moved by Christian mercy to plead the case of the Lilliputian people enslaved by the British Empire. It is over a century since Lemuel Gulliver returned from the lands of the so-called ‘Pacificans’, his tales leading to an occupation of those wondrous countries by European nations. The ‘little people’, are now reckoned to number only in the thousands across the whole world as a result of this invasion by ‘big folk’. The British Empire owes their great successes since the invasion to the technological skill of the Lilliputians, gifted with powers of invention due to their miniature size that have led to clockwork wonders. Even still Bates is dismayed by their enslavement and is contacted by an agent of France. In exchange for his assistance, he is promised the swift liberation of the Lilliputian slaves and the overthrow of the British Empire at the hands of an alliance between the French and the Church of Rome.
This is also the story of Eleanor, sold into marriage with an industrialist who business thrives on Lilliputian handiwork. Her mother made the match in order to secure her own lifestyle and Eleanor becomes resigned to her fate. She buries herself in the study of the natural sciences, with reading her sole pleasure, a retreat from the cruelties of the world outside her door. One night following her marriage to Mr. Burton, she witnesses an event that she feels might be turned to her advantage, but shortly thereafter the French invade London, with an advance force of Brobdingnagian Giants laying waste to everything in their path.
The French have yet another weapon to hand. A calculating machine, perfected by one Charles Babbage. When Eleanor and Bates meet, they learn that whoever should control this computational device, could decide the course of the war. Together they race across England, unaware that their world is being watched keenly and closely by intelligences greater than man’s.
If that’s not a broad enough hint, it soon becomes apparent that Swiftly uses its relationship to Gulliver’s Travels as a skin. In reality the book is a parody of H.G. Welles’ War of the Worlds. Through this comparison Roberts draws out the similarities between both writers, equal in their criticism of the British Empire and the brutal hidden histories of civilization. The Brobdingnagians marching across the Channel resemble the Martian Tripods of Welles’ book; there is also a sudden outbreak of pestilence across England.
My one complaint is while the period detail is excellent – religion and the fear of committing some social impropriety are straitjackets to each of the characters; the evolutionary theories of Lamarck are rejected as the ‘Pacificans’ are seen to be proof of God’s plan – I am frustrated with hints of condescension towards the views of sex held by these characters. One of the pleasures of Neal Stephenson’s Baroque Cycle of books is that he made the thoughts and actions of historical figures from the 17c seem modern. Here there’s a mocking tone to Eleanor’s discovery of sexuality (she takes out a book from the library of the mating habits of pigs) and Bates’ tortured excitement at his own desires.
While that made me think less of the overall project, the book is gifted with an excellent premise. In keeping with its Anglo-Frankish conflict it swings from Swiftian to Rabelaisian satire. Fascinating.
‘You know,’ Carter said, as the cheering faded, hoping this would solve everything, ‘I do love magic. By itself, for its own sake.’
Ledocq nodded. ‘So. If you do a trick and no one notices, does that satisfy? Or is it like a tree falling in the forest without anyone to hear it?’
Carter sighed. His curse in life was to be attracted to people who understood him. With a sip of beer, he said, ‘I feel sorry for that tree.’
I cannot count the number of times I have taken this novel down from a shelf in a book store and then not bought it. For one reason or another, I never made that last trek to the cashier. Since Glen David Gold’s debut novel was first published it has attracted a rake of plaudits and praise. I sometimes suspected this was another one of those popular novels that actually is not all that good, but somehow managed to attract the newspaper literarti. I’m very contrary like that, always plumbing for the obscure over the well known. Turns out I was very wrong.
Gold’s novel is a fictionalized account of events involving real historical persons. President Warren Harding did die suddenly, during an administration notable for corruption scandals and falling public approval. He is still referred to as one of the worst presidents in the history of the United States. The book’s main character Charles Carter was a popular magician and contemporary of Houdini’s. Gold takes the lives of these two men and intertwines them, effectively ‘framing’, his hero for the President’s death.
For in this revision of history, President Harding attended a performance of Carter’s and after taking part in the show stopping illusion known as ‘Carter Beats the Devil’, returned to his hotel and died only two hours later. The magician flees the scene of the crime, with special agent Jack Griffin in pursuit. The government agent becomes obsessed with the history of his quary and the book skips backward and forwards in time, relating the events in Carter’s life that the search uncovers, as well as revealing his origins as a magician to the reader.
Early in the novel Carter’s first steps as a magician lead him to a fateful encounter in a snowbound house. Still a child, he comes face to face with a madman who captures both him and his little brother James and beats them horribly. Using what he has already managed to learn about escape artists, Carter frees himself and his sibling and rushes to find help – only to be dismayed when no one believes his story. It is a frightening and disillusioning experience for the young boy and his later obsession with illusions seem to indicate a fascination with truth and belief. Magic, he learns, is all about misdirection. The spectacle is designed to exploit human psychology, their willingness to believe what their eyes can see over all else.
Gold fills the books with period details, in keeping with choosing real-life personages such as Harding, Carter and Philo Farnsworth as characters. The early faddishness of psychoanalysis is touched upon, as well as the cult of personality enjoyed by Houdini. Conspiracies and new exciting breakthroughs in technology are revealed. By choosing this period, Gold introduces contemporary readers to an age of wonder, when invention and the need of the status quo to financially control such advances in technology, grappled. Thomas Pynchon brought to light the same conflict in Against the Day and H.G. Welles’ wrote The Open Conspiracy revealing how science could become a tool of control, with the greater public remaining in ignorance of its benefits.
This is a gripping and fascinating historical drama, with thrilling intrigue and murderous plots to keep the pace racing.
In the men’s room, he finally took the trouble to examine the money and was encouraged to see the face of Ulysses S. Grant engraved on the front of each bill. That proved to him that this America, this other America, which hasn’t lived through September 11 or the war in Iraq, nevertheless has strong historical links to the America he knows. The question is: at what point did the two stories being to diverge?
First off apologies for the late posting. I was miles away from my trusty Asus this afternoon. While this is being published still within the borders of the prerequisite ‘day’, it is late and I hope you were not waiting in vain. Auster’s novel is a traumatized reaction to the events of September 11 and the invasion of Iraq. I found myself comparing it critically to a number of other writers, yet at the same time Man in the Dark is a statement confronting the failures of American liberalism in the wake of these horrific events in recent history.
August Brill is a man trying to hide from his past. Mourning the death of his wife, he lives with his daughter Miriam and granddaughter Katya. Further tragedies haunt this family, but they retreat into silence, or obsessions to escape the necessary catharsis.
Twinned to this narrative is the story of Owen Brick, a man transported to another America, torn apart by civil war. Several states have followed the example of New York and seceded from the United States. Brick finds himself an unwilling military recruit, ordered to assassinate the man responsible for the horrors being visited on the American people. He protests that he is only a magician and cannot bring himself to kill. The men who have chosen him threaten the lives of his loved ones back in the ‘real world’, if he does not comply. The target for assassination? A writer named August Brill.
I picked up this book as it describes the imaginings of a chronic insomniac. If you ever wondered how I have managed to read 46 titles in as many days, well now you know. Auster also refers to Italian philosopher Giordano Bruno as an explanation for his ‘many worlds’, premise. I took issue with his conclusion that Bruno was executed for the thesis of the plurality of worlds. I always understood the Vatican having ordered his death as his belief in Christian magick fell out of favour with the new pontiff Pope Clement VIII. There is an excellent book by Frances Yates on the subject if anyone is curious.
The world of Owen Brick is quickly established to be a fiction. I was strongly reminded of Alasdair Gray’s Lanark throughout, despite Auster employing the shadow of 9/11. The difference is that for Gray the fantasy world is just as ‘real’, as ours. Philip K. Dick would also do this on occasion, refusing to clarify which perspective of reality is the ‘true’ one. Auster instead describes this alternate America as a distraction from grief, with the endless film viewing of Katya and August fulfilling a similar function. Their shared tragedies must be evaded at all costs.
It is a slim book, perhaps I expected more meat on the bone. I have never read Auster before and I have heard nothing but good things. If anyone can recommend another title by him, I would love to try him out again.
Tomorrow – Scott Pilgrim!
Shakespeare, like any Englishman of the sixteenth century, was required by law to use the language of the conquerors, but because he was Shakespeare he became a master of the tongue. His lines throbbed with life and vitality. They say that he hated writing plays about the Turkish sultans and their triumphs, that he would much rather have written of Richard III and King John and Henry IV, our English kings before the Turkish Conquest. But he wrote of Turks in the Turkish tongue, and made such a job of it that to this day the Turks revere him and blush to think he was an Englishman.
Robert Silverberg is known as one of the literary architects of steampunk, experimenting with alternate histories in his novels. This book is yet another return to the trough, with a Muslim dominated Europe and the Americas ruled over by the Aztec Empire. It is a slim volume, but one which raised a number of questions for me.
Dan Beauchamp is descended from a proud line of Englishmen who refused to abandon their Christian faith during the Turkish rule of Europe. Making the signs of the Islamic faith in public, but holding mass behind closed doors, Dan is tired of hiding. He decides his fortunes lie to the West and sets sail for the Hesperides. The continent was discovered by Portuguese sailors late in the 16th century, shortly after Europe recovered from a devastating plague that wiped out three quarters of the population. The New World did not prove to be as welcoming as the sailors had hoped and they were sacrificed to the Aztec gods. The year according to the Gregorian calendar is 1985. Mankind has not yet invented air travel.
Dan sails from London, now known as New Istanbul, for Mexico. He has studied Nahuatl in secret for months and is determined to make his fortune and attach himself to a member of the Aztec Imperial Court as a bondsman. During the long voyage Dan happens to make the acquaintance of a high ranking member of Aztec society, who advises him to seek out the rebel prince Topiltzin. After making the acquaintance of a sorcerer who explains that this world is just one of many, Dan is warned that his choice to follow power-hungry nephew of King Moctezuma will lead to tragedy and disaster. Nevertheless our hero sets off to find a new kingdom for his prince to rule, convinced he is close to forging his own future in Industrial Mexico, far from the devastation of conquered England.
There are some similarities here to Silverberg’s novella Sailing to Byzantium, which also featured a traveler from a dominant Muslim superpower arriving in a very different America from the one we know. The Gate of Worlds was written in 1967, which I find fascinating as it is a steampunk work that dabbles in quantum theory, with the sorcerer Quequex explaining to Dan Beauchamp how every decision creates a new world within the multiverse of possibilities. It explores the differences in the timeline, with a far more devastating outbreak of the Black Death leaving the European mainland unable to defend itself from a Turkish invasion. Fewer than nine million inhabitants live in Britain. America is never discovered by Columbus. Africa is free and independent. Asia is under a Russian yoke. I love the idea of William Shakespeare writing epics lauding the Turkish invasion though.
The book also disturbs with its thesis that without an expansionist Europe, significant technological advances would never have been made. The Aztec and Incan civilizations seem happy to retain their tribal natures well into the twentieth century. Cars are unreliable, steam-powered, miniature trains. Given the date of publication I am surprised at the degree to which it resembles the central argument of Jared Diamond’s Guns, Germs and Steel, which came out in 1997. Diamond argues that a densely populated European population, that had survived devastating waves of disease and internecine warfare, had a greater incentive to become expansionist, defeating the indigenous peoples of conquered lands courtesy of the three elements of the title. Willingness to kill, infectious disease and technological invention.
Beyond all this theorizing, Silverberg has given a steampunk veneer to the 19th century novel of fortune, akin to Robert Louis Stevenson’s Treasure Island or Kidnapped. If that’s something you think you would enjoy, The Gate of Worlds might be for you. Personally I left it feeling troubled by its implications.