" In this universe the night was falling; the shadows were lengthening towards an east that would not know another dawn. But elsewhere the stars were still young and the light of morning lingered; and along the path he once had followed, Man would one day go again"

Arthur C. Clarke Against the Fall of Night

Saturday, February 18, 2017

Michael Chabon Attacks Prejudice Against Science Fiction from Wired 03.07.12




  This week my wife and I attended a talk at the university by author Michael Chabon. My wife is a fan of Chabon's writing and has read a number of his novels. I have to admit that despite his reputation, among many other awards he has won a Hugo, a Nebula and something called Pulitzer Prize, I had not read anything by him. The talk was very good, Chabon skillfully weaved his experience and influences from age five onward into a very engaging narrative explaining his world view, which of course is reflected in his writing, (as I understood him) he is a rationalist and a sceptic, wary of anything that smacks of mysticism and personal exceptionalism. He is also interested in both mainstream and genre literature something I am also quite interested in. I guess I should not be surprised that a man who has been a professional story teller in multiple genres and mediums for so long, should be so engaging and eloquent but I was, very pleasantly surprised. His ability to organize and delivery his thoughts impressed me. He has obviously given his experiences and personal world view a lot of thought. It was also nice to hear from someone who obviously looks at the world rationally and critically. Having since read three of his short stories, the steam punk flavoured "The Martian Agent, A Planetary Romance" and two Lovecraft inspired tales "The God of Dark Laughter" and “In the Black Mill,” I am impressed with his writing, and will move on to his novels once I clean up the basement and find them.




I also never realized that he had been involved in the screenplay for the movie John Carter one of several movies, Van Helsing, The League of Extraordinary Gentlemen among others etc. etc. that my wife and I apparently alone enjoyed based on the critical response. Okay it started with way too much earthly backstory, but I always hate back story. I was very happy to find out he was a huge fan of Burroughs Mars books, as am I, so overall I really enjoyed the talk. I have included a link to a interview he gave to Wired which I found quite interesting should anyone care to read more about Chabon's career.



 "I never abandoned genre fiction as a reader at all, and what happened, you know, after The Mysteries of Pittsburgh and Wonder Boys, the book you mentioned, and the short stories that I wrote at the beginning of my career as a published writer, is it presented me eventually with this puzzle to myself of, “What happened to that idea of writing the kinds of books that you love to read?” And yes, the books that I was writing were modelled to some degree or another on other books that I loved, but my diet as a reader had never abandoned things that my output as a writer was just clearly not reflecting, and I wondered about that, like, “Why? Why does my backlist look so monochromatic, when the spectrum of my reading is so multicolored?” And I didn’t really have a good answer."


Michael Chabon Attacks Prejudice Against Science Fiction

from Wired 03.07.12

https://www.wired.com/2012/03/michael-chabon-geeks-guide-galaxy/all/

And I finish with a quote I loved from his (excellent ) HPL inspired New Yorker story, (which I will discuss on my HPL site) that I felt captured some of the skeptical and rational aspects of his world view as expressed in his talk. It is also, in my mind beautifully written.

"Here I conclude my report, and with it my tenure as district attorney for this blighted and unfortunate county. I have staked my career—my life itself—on the things I could see, on the stories I could credit, and on the eventual vindication, when the book was closed, of the reasonable and skeptical approach. In the face of twenty-five years of bloodshed, mayhem, criminality, and the universal human pastime of ruination, I have clung fiercely to Occam's razor, seeking always to keep my solutions unadorned and free of conjecture, and never to resort to conspiracy or any kind of prosecutorial woolgathering. My mother, whenever she was confronted by calamity or personal sorrow, invoked cosmic emanations, invisible empires, ancient prophecies, and intrigues; it has been the business of my life to reject such folderol and seek the simpler explanation. But we were fools, she and I, arrant blockheads, each of us blind to or heedless of the readiest explanation: that the world is an ungettable joke, and our human need to explain its wonders and horrors, our appalling genius for devising such explanations, is nothing more than the rim shot that accompanies the punch line."


from "The God of Dark Laughter"
New Yorker April 9, 2001 by Michael Chabon


Monday, February 13, 2017

The Gernsback Continuum by William Gibson



 "You could hide the Empire State building in one of the smallest of these towers. Roads of crystal soared between the spires, crossed and recrossed by smooth silver silver shapes like beads of running mercury.  The air was thick with ships…," (8) The Gernsback Continuum.

This cover is for Amazing Stories July 1923, Cover by Leo Morey

Some time ago I decided to read up on the cyberpunk classics I had missed. Thus far I have read "Burning Chrome", the short story and Neuromancer by William Gibson and "True Names" by Vernor Vinge. Easily distracted I also read "Hinterlands" by Gibson, brilliant, Bruce Sterling's "We See Things Differently" also brilliant see my earlier post, and "Swarm" a great insect society tale and the first work in Sterling’s  Shaper/Mechanist series. In an effort to get back on track I opened up Mirrorshades The Cyberpunk Anthology edited by Sterling. The first story was William Gibson's "The Gernsback Continuum", based on my previous posts I think we can guess which story I read first. In his introduction Sterling points out that this is Gibson's first professional publication (1981) while noting the importance of Gibson's Sprawl Series Sterling states "But this story led the way. It was a coolly accurate perception of the wrongheaded elements of the past-and a clarion call for a new SF aesthetic of the Eighties." Huh? the 1980’s while the removal of the wall was great and I enjoyed Max Headroom we also had Culture Club, Ronald Regan, Margaret Thatcher and Who's the Boss, wait I can see why a cyberpunk future is so dreary. I for one am still waiting for my jetpack. 


Grosset & Dunlap 1958, Illustrated by Graham Kaye

But on to Gibson's story, our narrator is a professional photographer who has taken a commission from a British art historian Dialta Downes to provide photos for an upcoming book The Airstream Futuropolis: The Tomorrow That Never Was. While Downes is thinking American architecture the narrator remembers the flying cars of the 1950's newsreels, or going back to the beginnings, the streamlined pencil sharpeners of the 1930's created by the first American industrial designers. The story specifically mentions Gernsback, Jules  Verne, Frank R. Paul and Tom Swift, great stuff in my mind. In an effort to capture the desired "look" the narrator photographs gas stations, "During the high point of the Downes Age, they put Ming the Merciless in charge of designing California gas stations. Favouring the architecture of his native Mongo, he cruised up and down the coast erecting raygun emplacements in white stucco. Lots of them featured superfluous central towers ringed with those strange radiator flanges that were a signature motif of the style," (4). 

And it is while photographing these gas stations that our narrator slips into the Gernsback Continuum. Gibson is a very good writer and I was quite impressed with the quality of this, his first published story. He perfectly captures the visual mood of the SF future as depicted the the magazines, books, merchandise, movies and television programs produced from the 1930’s thru the 1950’s. The story has none the gritty nihilistic vision of Blade Runner which I associate with cyberpunk. If anything it reminds me of the moody short stories of Tim Powers and James Blaylock where solitary narrators move through shifting realities infused with the Victorian science of H.G. Wells and Jules Verne, alchemy, nostalgia, California dreaming, and zeppelins. I really enjoyed the story but think in the end I came to different conclusions if I can say that about a short story. I will  discuss this below.


 
Wonder Stories Dec. 1932, Frank R. Paul
Spoilers and quibbles

The narrator wants to be free of his visions of this “Gernsback” future especially after seeing the inhabitants of this future, “they were white, blond and probably had blue eyes” "They were smug, happy, and utterly content with themselves and their world”, and we are told “It had all of the sinister fruitiness of the Hitler Youth propaganda” (9). The narrator and possibly by extension Gibson and Sterling? see the technological future represented by Gernsback, as helping create our current problems of reliance on fossil fuels, traffic congestion, overpopulation, pollution, violence and racism. For myself I, as anyone who has read the site would know, love the Gernsback/Paul vision even while admitting it is both unrealistic and flawed. However a cyberpunk future while possibly more realistic also stereotypes, women are commonly assassins or prostitutes or both, the Japanese all seem to be augmented ninja or yakuza businessmen. Cyberpunk is still every bit as much about technology and we are still going into space but the ships are a lot more unpleasant and most of us will be indentured servants or cargo.


I know which I prefer, food pill anyone?  

Sunday, February 5, 2017

Xenu’s Paradox: The Fiction of L. Ron Hubbard and the Making of Scientology





April 1940, cover by Hubert Rogers
(for Copyright purposes I want to mention that I took 
this photo of one of my pulps. I do not republish 
photos from other sites.)

I found the following article on http://aldaily.com/

I thought it would be of interest to readers  of early SF. Any conclusions are of course those of the author, but I thought the link worth passing along and I am looking forward to reviews of his upcoming book, Astounding: John W. Campbell, Isaac Asimov, Robert A. Heinlein, L. Ron Hubbard, and the Golden Age of Science Fiction.

"Xenu’s Paradox: The Fiction of L. Ron Hubbard and the Making of Scientology"

Alec Nevala-Lee, author of Astounding, a forthcoming book on the history of science fiction, digs into the writing career of L. Ron Hubbard, gaining new insights into the life of the controversial founder of dianetics and the origins and nature of Scientology itself.
https://longreads.com/2017/02/01/xenus-paradox-the-fiction-of-l-ron-hubbard/

quoted from the article;

"And it gets even stranger. When we turn to the stories themselves, we find that most of them have nothing in common with the tale of Xenu. In the pages of Astounding, Hubbard tended to write comic fantasies or adventures staged on a very modest scale, with situations lifted straight from the nautical or military fiction that he was publishing elsewhere. Aliens and galactic empires rarely played any significant role. When he employed these conventions, it was as a target for parody or as a kind of painted backdrop for the action. Yet when the time came to give Scientology a founding myth, he turned to space opera, referring to it explicitly in those terms, and the result didn’t look or sound much like anything he had ever written before."

Tuesday, January 31, 2017

The Perversity of Things: Hugo Gernsback on Media, Tinkering, and Scientifiction by Hugo Gernsback and Grant Wythoff


My wife brought the following review from The New York Times Review of Books to my attention. The Making of Future Man by James Gleick a review of
The Perversity of Things: Hugo Gernsback on Media, Tinkering, and Scientifiction by Hugo Gernsback and Grant Wythoff.


http://www.nybooks.com/daily/2017/01/31/hugo-gernsback-making-of-future-man/

Given that I devoted my last post to Hugo Gernsback and his novel Ralph 124C 41+ I suspect I know how I will be spending next month's book budget. I already have my eye on something for this month.



Amazing Stories, Feb. 1929 Vol. 3 no. II, cover by Frank R. Paul
Illustration for The Sixth Glacier by Marius, (Steve Benedict)

From Amazon.ca

" In 1905, a young Jewish immigrant from Luxembourg founded an electrical supply shop in New York. This inventor, writer, and publisher Hugo Gernsback would later become famous for launching the first science fiction magazine, Amazing Stories, in 1926. But while science fiction’s annual Hugo Awards were named in his honor, there has been surprisingly little understanding of how the genre began among a community of tinkerers all drawn to Gernsback’s vision of comprehending the future of media through making. In The Perversity of Things, Grant Wythoff makes available texts by Hugo Gernsback that were foundational both for science fiction and the emergence of media studies.
Wythoff argues that Gernsback developed a means of describing and assessing the cultural impact of emerging media long before media studies became an academic discipline. From editorials and blueprints to media histories, critical essays, and short fiction, Wythoff has collected a wide range of Gernsback’s writings that have been out of print since their magazine debut in the early 1900s. These articles cover such topics as television; the regulation of wireless/radio; war and technology; speculative futures; media-archaeological curiosities like the dynamophone and hypnobioscope; and more. All together, this collection shows how Gernsback’s publications evolved from an electrical parts catalog to a full-fledged literary genre.
The Perversity of Things aims to reverse the widespread misunderstanding of Gernsback within the history of science fiction criticism. Through painstaking research and extensive annotations and commentary, Wythoff reintroduces us to Gernsback and the origins of science fiction. "

Thursday, January 26, 2017

Ralph 124C41+ Hugo Gernsback and his contribution to SF


   Crest Book editon, 1958, cover by Richard Powers

As someone interested in science fiction history as well as contemporary works it seems strange that I have not previously tackled Hugo Gernsback’s Ralph 124C 41+. It was Gary Westfahl’s The Mechanics of Wonder; The Creation of the Idea of Science Fiction that really gave me the kick in the pants I needed. 

From the back cover “This is a sustained argument about the idea of science fiction by a renowned critic. Overturning many received opinions, it is both controversial and stimulating. Much of the controversy arises from Westfahl's resurrection of Hugo Gernsback - for decades a largely derided figure - as the true creator of science fiction. Following an initial demolition of earlier critics, Westfahl argues for Gernsback's importance. His argument is fully documented, showing a much greater familiarity with early American science fiction, particularly magazine fiction, than previous academic critics or historians. After his initial chapters on Gernsback, he examines the way in which the Gernsback tradition was adopted and modified by later magazine editors and early critics. This involves a re-evaluation of the importance of John W. Campbell to the history of science fiction as well as a very interesting critique of Robert Heinlein's Beyond the Horizon, one the seminal texts of American science fiction. In conclusion, Westfahl uses the theories of Gernsback and Campbell to develop a descriptive definition of science fiction and he explores the ramifications of that definition.”

As Westfahl devotes an entire chapter to Ralph 124C41+ and references it in other sections I needed to read this book. I am finding Westfahl’s book an interesting read and I will provide my take on his argument after we visit Ralph.

 Ralph 124C 41+ was a twelve part serial appearing in Gernsbeck’s Modern Electronics in April 1911. The story starts on Sept 1, 2660 with Ralph 124C 41+ using his telephot, (a telephone with a screen) to communicate with one of his friends. His call is cut off and he find that he is reconnected to a beautiful young lady who turns out to be Alice 212B 423 marooned in a villa in Switzerland. A work action, i.e., sabotage by the four weather-engineers in her region has created an area of “high depression’ which has resulted in a five day blizzard and cut off power to the villa. Alice had just managed to reinstall the power mast when she contacted Ralph. She immediately recognizes Ralph as one of only ten men in the world allowed to add a + sign to their name/designation. It seems he is possibly the world’s greatest living scientist, the only other member of the ten we meet in the story is a surgeon, and so Alice reasonably asks for his autograph. Ralph quickly hooks up his telautograph and sends it over. But wait what’s that noise, an avalanche is bearing down on poor Alice. 

What follows is a pleasantly technical exchange, Alice is obviously no shrinking violet.

“Speak quick?” he barked. “is your Power Mast still up.”
“Yes, but what good-?”
“Never mind. Your wave length?”
“.629.”
“Oscillary?”
“491,211.”
“Can you direct it yourself?’
“Yes.”
“Could you attach a six-foot piece of your blown-down Communico mast to the base of the Power aerial?’
“Certainly-it’s of alomagmasium and it is very light.” (14)

And once Alice has hooked everything up Ralph is able to direct the ultra-power from his ultra-generator from New York to Switzerland. (Ralph is a sport he sounds a siren to warn his neighbours to insulate themselves before he flips the switch, he’s not a mad scientist). Ralph is then able to shoot an immense flame from Alice’s mast and melt the snow. This also allows Gernsbeck to interject some handy information about the current state of physics as he understands it. “Inasmuch as light waves cannot pass through space without the medium of ether, it necessarily follows that the entire area upon which the aerial acted was dark.” (17) I love ether. 

Alice’s father who has been frantically trying to reach her appears and Ralph discreetly breaks the connection. Ralph then returns to his experiments but chafes under the constraints imposed on him by his position and finds he cannot forget Alice. Ralph is not a free agent for as the planet governor, ruler of 15 billion people, states Ralph is “ a great inventor,” …., a tremendous factor in the world’s advancement. You are invaluable to humanity, and —you are irreplaceable. You belong to the world —not to yourself.”  (21)

Ralph’s status however does appear to carry certain perks. Dangerous experiments are carried out by criminals under sentence of death to protect Ralph, if they die no harm is done if they live they go to prison for life. He has an round tower 650 feet tall with a staff and a long suffering man servant Peter to fetch and carry. And Ralph has the adulation of the world for the increases he has made to agricultural yield of American farms. and inventions like the Menograph which records your thoughts or the Hypnobioscope which can project newspapers, course materials or books to your sleeping mind. Yet Ralph is unfulfilled, until Alice and her father James 212B 422, an engineer designing the new Subatlantic Tube, stop by on a visit to New York. Ralph insists that they stay with him, he has plenty of room after all. And now he is able to tour Alice (and us) around New York, the most advanced city of 2660. Ralph is obviously smitten, after all Ralph 124C 41+ is often described as “ A Romance of the Year 2660”. Indeed the only fly in the ointment is the fact that James has admitted to Ralph that Alice has two unwanted suitors, one a nasty young man named Fernand 60O 10, and a Martian Liysanorh’ CK 1618 who is infatuated with Alice despite laws forbidding Earth Martian marriages. My thoughts.


August 1935 cover by Frank R. Paul? he is listed as the art director

Ralph 124C 41+ is encumbered by the rather wooden dialog and characterization that typifies the writing of the pulp era in general not just science fiction. Certainly anyone who has read E.E. Smith, Ray Cummings or the early stories of Jack Williamson (all of who continued to be reprinted long after the “pulp era’ ended) will notice the same stylistic problems. One of the things which readers and reviewers seem to dislike the most occurs throughout the novel but gets worse as Ralph tours Alice around New York, for it is here that Gernsback relentlessly tells rather than shows. For every stop on the tour, and it is spread over days, involves explanations about, weather control, it is alway 72 Fahrenheit and rains only between 2 and 3 in the morning, the Tele-motor-coasters, i.e. the roller-skates people use to get around when not using flying taxis, the delivery of packages, solar power, street lighting, economics and currency etc. I did find the novel started to drag around page 100 but then the tour ended and the plot picked up, and I was fine. I enjoyed the novel. 

I see many early science fiction works as historic artifacts as well as entertainment. Gernsback was an early pioneer in electronics, radio and television so I enjoyed seeing his fictionalized ideas of how future might look, after all he went on to found not just Amazing Stories, but many fiction and non-fiction magazines including The Electrical Experimenter, Modern Electrics, Science and Mechanics, Radio News, Air Wonder Stories etc. Many have covers by Frank R. Paul, which I think are some of the the most spectacular pulp covers ever produced. Certainly there are odd gaps in his depiction of the year 2660 considering Gernsback’s interests, there is a lot of technology but no robots. Information, books and newspapers are provided on an advanced microfiche like system not electronically. Rather than a 3D television Ralph has an entire 3D theatre in the basement. This is another flaw in the novel, we see how Ralph lives but Ralph is an exceptional individual, we do not see how the average citizen lives. However one invention of Ralph’s that I found fascinating was the aerial floating vacation city. "This," explained Ralph, "is one of our many vacation cities that I hope will soon dot every part of the world. People are living entirely too intensely nowadays and with the many functions that they have to perform, with all the labor-saving devices they have, their lives are speeded up to the breaking point” (86) So Ralph is creating vacation islands where people have nothing to do but rest and relax “ There is no noise, no excitement, not even a radiotelephone” (87). Wow, for a man who spent his entire life promoting technology especially electronics, radio and television this is possibly for me his greatest invention. That Gernsback could extrapolate, when the technologies he so lovingly imagined, were still so rudimentary and unrealized that a time would come when the pace of life technology would create would overwhelm us just amazes me.


Sept. 1929, cover by Frank R. Paul

Ralph 124C 41+ as it has often been pointed out has its warts. But I largely concur with Westfahl’s statement from Mechanics of Wonder; The Creation of the Idea of Science Fiction

“ However, while conceding its aesthetic weaknesses, I maintain that Gernsback's novel is the one essential text for all studies of science fiction, a work which anticipates and contains the entire genre.” (93)

As part of my discussion of Gernsback’s work I also want to look briefly at Gernsback's  contribution to the genre.



April 1930, Cover by Frank R. Paul

**** Warning I am not unbiased ***

I often find that I am attracted to ideas and sources that reinforce beliefs I already hold (I suspect this is a failing I share with many others), so I purchased Westfahl’s book because a quick perusal of the cover blurb told me he would discuss issues of interest to me and possibly support conclusions I already hold. And he did. He reinforced the importance of Gernsback's publication of Amazing Stores for the creation of science fiction as a genre. He also noted that other science fiction figures recognized the importance of the publication of Amazing Stories. 

Two booksLester del Rey's The World of Science Fiction: 1926-1976 and David G. Hartwell's Age of Wonders-also proclaim that Gernsback’s Amazing Stories represents the true beginning of the genre: Hartwell says that Gernsback ‘invented modern science fiction in April, 1926’ and ‘ The history of the world of science fiction dates from the birth of conscious separateness, April 1926 (pp.23, 118) (30).

I think the idea of separateness is an important one. In 1919 Ray Cummings’ “The Girl in the Golden Atom, a romance of a world within a world” an important early science fiction story first appeared in All- Story Weekly while Murray Leinster, who would go on to be a very significant early SF writer published his first science fiction story “The Runaway Skyscraper” in Argosy and Railroad Man's Magazine. So both works jostled for attention among adventure stories about doughboys, cowboys, detectives, pirates, boxers, heroic wireless operators, etc. Amazing Stories and the science fiction specific pulps that followed allowed writers, readers and later reviewers to locate science fiction themed stories easily. Gernsback provided not just a name, and a definition but examples of what science fiction stories were right there in the first issue.

From “A New Sort of Magazine”, Hugo Gernsback, Amazing Stories The Magazine of Scientifiction, Vol. 1, No. 1 April 1926.

"By "scientifiction" I mean the Jules Verne, H. G.
Wells, and Edgar Allan Poe type of story—a charming
romance intermingled with scientific fact and
prophetic vision. For many years stories of this nature were published in the sister magazines of Amazing Stories—"Science & Invention" and
"Radio News."
But with the ever increasing demands on us for
this sort of story, and more of it, there was only one
thing to do-—publish a magazine in which the scientific
fiction type of story will hold forth exclusively."

While the name did not stick and his competitors (and Gernsbeck himself) often dropped prophetic vision for space cowboys or cops and robbers and while writers and critics of SF have argued since 1926 about what science fiction is and what works are science fiction he got the ball rolling. Also his choice of examples (often reprinted from other sources) was inspired. Verne supplied an optimistic scientific fact based extrapolative approach that brought us inventors, gadgets and big dumb objects. Wells supplied a more human centric approach to animal human hybrids, supermen and women. alien invasion, time travel and class warfare. Poe brought us the gothic element that would supply mad scientists, deadly clanking robots and monstrous aliens. 


Was Gernsback a nice man, no, he was renown for paying writers late or not at all. I do wonder if the career trajectory of H.P. Lovecraft would have been different if he had received prompt and enthusiastic payment for one of his greatest stories “The Color Out Space” (1927) and been encouraged to try markets other than Weird Tales. But as far as the history of the genre is concerned Gernsback was an incredibly important figure and Ralph 124C41+ a very important document in understanding his vision of science fiction and one I enjoyed.