Uncanny Valley Digest: Rachel Pollack’s Burning Sky

Our Burning Sky discussion left no question answered! This is my favorite story of the summer so far. It grapples with potent, ambiguous questions about the inevitability of violence and grievance as a justification for force. It’s also a superhero/sexual awakening story. Find your kink, for goodness sake; there’s all sorts. In fact there are two parallel story lines in this short story: 1) a recent divorcee with a nubile narcissistic lover, and 2) a journalist who stumbles upon a vigilante hideout and is taken to task for her intrusion.

In many respects the story is style over content, and there’s a literary, modernist echo to this prose. Dave didn’t like it because it needed so much deciphering. For some reason it wasn’t okay for the author to just tell us what was going on. Lots of detective work on the reader’s part, and frankly there is no tidy finish. Dave predicted that the mood of ambiguity and uncertainty were going to largely remain unresolved, and he was right. It creates a mood and leaves it there. Personally, not Dave’s style preference.

But Pollack is also a poet, comic book writer, and industry-recognized tarot specialist, so in context her approach packs ample content into the style, and deciphering the substance from the images is part of the process.

By some standards, it isn’t even science fiction. No fictional technology at all, just sheer, sensuous Free Skin body suits. It’s value lies deeper than that, more literary I think, and the superhero vigilante element lets it posture into the sci-fi frame.

The story’s real power to me, is the questions it raises about boundaries, force, and the abuse of power across the sexes. Lots of weird things about Louise’s need to get Maggie off, to preserve an undefeated record, and a genuine wish to get Maggie in touch with her self, the pleasure center, the deep orgasmic grounding. At the same time Julia is contenting with being abducted and subjugated by the Free Skins after violating their privacy and photographing their hideout. The idea that it is an initiation is almost secondary.

P. 965 “In the ritual hall Julia spends days hanging from copper, then brass, then silver manacles…”
The abusive/bondage/power play/rape initiation into the Free Skin, but as a form of consequence for her stalking them, for getting too close.

P. 966 The “rapist prick” scene, when Louise takes Maggie out on a rowboat and says “I’m not taking this boat back to shore until you come and I can feel it all over my fingers.”

Suhail: Yeah, to hell with that. On one hand Louise only wants you to get off, to activate your potential. On the other hand, Louise only wants it for narcissistic reasons. “Louise” must make you come, so it becomes rape.

Then the discovery in the Maggie/Louise timeline that Maggie is turned on by latex and skin suits, when she sees the skin diver in the lake and gets flush. Her kink finally discovered, she is delighted to get off at last. Good I’m glad she gets to come.

Interesting thematic note that the central image of the Julia/Free Skin story line is the skin suits, and that is the central image in Maggie’s story line, the image that gets her off, frees her to her self, activates her potential.

Sunset dances, from Christiana Gaudet
Good sex at last!

After the journalist Julia is initiated into the Free Skins against her will she is released to be a vigilante like them, a superhero slave gimp.
P.967 “With no one to command her she forgets to eat and one day passes out while photographing a police parade in the South Bronx.”
She’s a trauma survivor, but also a Free Skin? In remembering the initiation, “She wonders how she could have submitted to such strange and wretched slavery.”
Julia is summoned to don her Free Skin uniform and take out a corrupt judge. She panics, refuses, and hides the suit. The suit disappears and is replaced with a suicide knife. Julia stews in the guilt of denying the Free Skins.

In Maggie’s quest away from “the City of Civilized Sex,” she discusses a lot of the people in the kink community and what brought them there. Again the themes return of the porous nature of the boundaries between people’s psyches, and the way in which a stronger more aggressive psyche can alter the contours of a less powerful or aggressive psyche. And she dissects what brought people to these communities.

P. 967 “After a while they all began to strike me as rather odd, not just for their missionary zeal, but for their hunger for community.” In taking this deeper, in her next paragraph, the character Maggie narrates: “…or if each new arrival, thrilled at finding a town where she’d expected only a swamp, confused gratitude with eroticism…”

There’s the rub. They want community more than orgasms.

“confused gratitude for eroticism.”
Dave: It takes a psychological problem and makes it a sexual one.

Julia and Maggie sort of switch places. Maggie is freed for discovering the skin suit gets her off. Julia loses her Free Skin and the old hideout becomes a button factory.

We talked about the modernist style ambiguities and stylistic obfuscations in the language. The fact the the story does force you to do some figuring and inferring. Almost like a murder mystery, but not invested in wrapping it up. The Free Skin is also “wretched slavery,” so what is the question?

Dave: But it’s pretty bleak though. It thrives on your uncertainty. At least with a murder mystery you know there’s an answer. In this you can tell right away there will be no answer. But in this genre it I suppose communicates things that you can’t get at in a simple murder mystery.

And there’s the rub: a hunger for community, confusing gratitude for eroticism. This moment in the story backs up Dave’s Freudian observation that these characters are sexualizing a psychological problem. Maggie’s frozen clitoris is her need for fulfillment, actualization. Sometimes sex is part of the process of addressing a psychological problem.

Dave: It avoids the simplicity of men-are-bad, women-are-good social solutions. Power itself is the problem, not who’s wielding it.

David: It’s the the Id and Superego at cross purposes. “You wanna be free?” “Then you gotta be a slave.”

A slave to what? Well, at the end of the story, Julia gets her Free Skin back, but only after she attempts suicide. It gets very Abrahamic. She actually has to heft the dagger and commence the self-sacrifice before the salvation is delievered in the guise of the Free Skin suit grrls taking her back into their fold. They “dress her in the Free Skin she abandoned for an illusion of freedom.” Implying that choosing to avoid your duty is not freedom.

From The Raziel Tarot by Robert M. Place and Rachel PollackP.968 “Sex exists to lay traps for fantasies.”
Suhail: This is the thesis of the entire story, what the story is all about. It’s a good story. It is my favorite this summer so far.

David: But that also speaks to the quality of our list as a whole. Chris dropped out because the list didn’t have any oomph, this story no more than the previous. It style was too complex, intentionally ornamental in a way. It’s like the guy who buys a Harley after someone makes fun of the size of his dick.

Suhail: Like the shock value first sentence about her clitoris being a magnet, or a compass.

David: But that doesn’t follow through. It’s a clever, shocking first sentence more than anything else. It doesn’t end up being a metaphor or actually being the case. No development.

Suhail: It would be nice to read novels again. This short format (5,000 words and under) has it’s limits. We don’t get to see what the author can really do.

David: It’s not really even sci-fi. It’s the literary answer to sci-fi. What is it, 1989, right? This prose is very motivated by the indictment that sci-fi was just pulp writing and not substantial literature. This style heavy heady modernist approach.

Suhail: Yeah, modernist. It’s cultural criticism fiction. Slap a superhero/kink patrol body suit into it and viola, sci-fi! HA! It’s funny how we’re really managed to zero in on the grad school fiction this summer. HA! But this story is still my favorite so far. I feel it brings up things that Tiptree, Jr. addressed, murky questions about exploitation, boundaries, psychological manipulation, power. These are complex, fluid, and uncomfortable notions. Frankly, men seem to write less about conflicted states of empowerment and sex identity, and they’re potent subjects.

We waxed poetic about fun, engaging, stories, like Reiko’s Universe Box, it’s accessibility and airiness, and solid delivery. Tune in next time for our update of “Remnants of the Virago Crypto-System” by Geoffry Maloney.

Thank you for reading. Reading rules!

 

Advertisements

MEGABYTES! The Musical

533 Sutter, 94102

The highlight of this week was MEGABYTES: The Musical! What a delight to take in some local culture at the Shelton Theater, off Union Square. Megabytes is a witty and loquacious comedy revue about “surviving tech,” written by Morris Bobrow.

Whether it’s convention culture, wearable computing, GPS love, automated customer service, or staring into your phone to avoid awkward interaction, there’s a joke and a ditty for all. I chortled, giggled, snarfed, and guffawed all the way through the fastest 80 minutes of my week (no intermission).

Being an executive nerd, I caught Megabytes! in preview on Saturday night. This baby opens on January 26th and runs until March 3rd. San Franciscans (and their visitors), if you’re looking for a local show, with a gorgeous bar across the street (at Hotel Rex) and tremendous choices for tasty eats all within a couple of blocks, book Megabytes! The Musical for a lighthearted night on the town.

Tickets at www.brownpapertickets.com

megabytesthemusical.com

Uncanny Valley Digest: James Tiptree, Jr.

Hello science fiction lovers! Welcome back to the Uncanny Valley. Last week, we let Cordwainer Smith take us on a insightful, dangerous, but somehow whimsical ride through the human mind. This week, leave behind the whimsy, ’cause we’re going to Big Junction, where the only people laughing are the aliens!

“And I Woke And Found Me Here On The Cold Hill’s Side” (1972), by James Tiptree, Jr. (Alice Bradley Hastings Sheldon)

DerStandard.atThe Bio: Tiptree was a raised by intellectual parents, a lawyer father and writer mother, and before joining intellectual life, worked for the military, then the intelligence community. In 1942, she joined the war effort as a cryptographer and rose to the rank of Major. After WWII, she worked briefly as a CIA spook (‘52-’55), then returned to academic and artistic pursuits;  very conversant in military culture, and that made her gender deception more believable. She published under a pseudonym to protect her academic reputation, and a male pseudonym at that to conveniently sidestep sexist prejudices.

Another interesting biographical tidbit, thought by David to be a rumor, that just before she died, Tiptree killed her husband. Meg verified this bare fact with elaboration. Tiptree and her husband had a sort of death pact. Rather than decay into dotage, they chose to go before the very end. She shot him and then herself.

The story: A news reporter visiting a human built, alien-populated space station interviews  a human sex slave drug addict who is bitterly  enthralled with the aliens and tells a cautionary tale or two.

David: A weird gender dysphoria, or misidentifcation or dysfunction.

Meg has taught this story by giving it blind to students,  hiding the author biography. Then asking them if they felt any differently about the story after learning that it was written by a women. (The fact that Tiptree had expertise in psychological warfare may have had something to do with it, too.)

Getty

The colonialism theme. That line about balance of trade and the fall of the Polynesians. It’s not just about desire and sex and power, it is also about empire and servitude and conquering. The aliens get off on being admired, and tantalize and torture the humans, who wish for nothing more than to conquer this unconquerable population.

Nikita: There’s a whole element of addiction to it. That’s why the guy explaining it to the newsman is so bitter. A desire that leads nowhere, like sitting on a plastic egg. Like an impotent sexual addiction. There is a comparison to skag addiction earlier in the story.

P.614 “Sex? No, it’s deeper…Some cargo cult of the soul.”

Although, despite it being deeper than sex, the humans are attracted to the aliens for very physical reasons. The “smiling” animated body markings, etc., the strange bodies. Next thing you know they’re mopping up alien vomit “like it’s holy water.”

Detail of "The Thrall," By Dustin LeonMeg: During the space race, when this was published, there was a strong and public We’re-going-out-there, mentality. To the stars to the great unknown. And the aliens laugh, because they don’t have that. And they exploit that fascination in humans to make them gimpy freak slaves.

Suhail: And the way Tiptree describes it transcends technology. This kind of abusive addictive power play conquest has been played far back into time, with some humans doing it to others. An unpleasant thing to be made so vividly aware of, yet fascinating. Hmm.

David: A profound sense of sexual identity being alien, a far-out, fake, assembled, inhabited identity. None of this makes any sense biologically. Or in other words, that your sexuality is not inherent in your gender.

“Now we’ve met aliens we can’t screw, and we’re about to die trying.”

Cycle of abuse power dynamic being replayed over the Procyas by the Humans. Procyas are the little aliens who take abuse from humans, out of fascination.

p. 613 “Can’t you see, man? That’s us. That’s the way we look to them, to the real ones.”

Like the way it feels to be totally in love with someone who has contempt for you. That power posture, exploited to addiction and self destruction.

Tiptree was outed as a woman in ‘76 or ‘77.

David: I wonder what Phil Dick thought of that? It must have been a real blow to his world view. It would be interesting to see if there was a letter about it.

Meg: Remember, we are in unreliable narrator territory. This is a drugged up addict, with an inside knowledge of the addiction, speaking to a news reporter. But what is that person missing? And can we see anything through the story that he is not giving us? It’s one monologue to the newswriter.

Suhail: An idea that the Aliens represent Patriarchy doing to humans what men do to women. No, it’s a more subtle, diffuse power play even than that. Adoration and the urge to conquest thwarted, desire unfulfillable, and hence irresistible.

Suhail: and the end, it reminds me of The Story Of O (Pauline Reage, 1954).

David: Even if you know what happens, when you hear the muse’s call, you can’t help yourself.

Meg: Tiptree pulls the title from a line out of a John Keats’ poem, called “La Belle Dame sans Merci”  about a knight at arms spirited away by a fairy lover who seduces him and disappears, leaving him with nothing, haunted, on a cold hill side. But he is also relieved of his illusions.

Meg & David got into a thread about how they might teach this to undergrads: A commentary on Hook-up culture. “Collect them all,” attitude about lovers. How many different kinds of fascinating weirdos can you sleep with and how will they hurt you? The humans are attracted to the humans for very visceral, physical, sensory reasons. Look at the markings and colors on that body.

Nikita: A critique of consumerism. Those useless baubles, (Meg: “Trade beads!”) that humans collect to try to win the fickle favor of the aliens.

Meg: This is a great Tiptree story, but my least favorite.

Meg recommends “Houston, Houston, do you read?” “The Women Men Don’t See” and  “Love Is The Plan. The Plan Is death.”

David: Interesting pair of stories. Both have the erotic other and the consequence of unattainable, visceral desires. This would go well with the Frederick Pohl story, “Day One Million.”

Suhail: Coincidentally, Frederick Pohl is the one who encouraged Cordwainer Smith to publish his first story.

Meg’s off to Taos Toolbox in New Mexico to write! Sooper cool!

Be Advised: our next meeting is 6/22. Read “Story Of Your Life” by Ted Chaing (Yes, the story that became Arrival[Download PDF] & “Reiko’s Universe Box” by Kajio Shinji [In the book].

Thank you for reading. Reading rules!

Uncanny Valley: Science Fiction Summer Reading Group

If you buy one book this summer...Pravic for the people!Crack a book, science fiction lovers! Summer is back and so are we. Attend four stellar Thursday nights this Summer. (6/8, 6/22, 7/6, and 8/24) Join Editor of Pravic Magazine David Gill and science fiction author Suhail Rafidi as they once again brave the Uncanny Valley, searching out the latest and greatest in science fiction writers.

Page on!This summer, we’ll be reading 6 short stories over the first 3 sessions (6/8, 6/22, 7/6) counterweighted by one thick novel (Kim Stanley Robinson’s, New York 2140) for the fourth and final discussion (8/24). So plenty of time to get started on the whopper. If pages were years, this book’d have millennia. Let’s rock.

How’s It Go?

Four Thursday night discussions, 7:00 PM Pacific (6/8, 6/22, 7/6, 8/24)
If you’re in the Bay Area and can make it live, contact us for the address.
Otherwise, the Google Hangout link:
https://plus.google.com/hangouts/_/g5stgywth5n76vwbbyicm4jkqea

June 8
“The Game Of Rat And Dragon,”
-by Cordwainer Smith [Download PDF]
“And I Awoke And Found Me Here On The Cold Hill’s Side,”
-by James Tiptree, Jr. [Download PDF]

Yes, that Ted Chaing story...June 22
“Story Of Your Life,” by Ted Chiang [Download PDF]
“Reiko’s Universe Box,” by Kajio Shinji

July 6
“Tlön, Uqbar, Orbis Tertius,” by Jorge Luis Borges [Download PDF]
“Sharing Air,” by Manjula Padmanabhan

August 24
New York 2140, by Kim Stanley Robinson


Mark your calendars! Start reading now and join us this summer in the Uncanny Valley.
See you Thursday nights! (6/8, 6/22, 7/6, & 8/24)

In The Uncanny Valley...Bring it!
Dude, it’s Nowell & Nikita.

Thank you for reading. Reading rules!

The Art Of Rewriting (Or, The Ten Drafts Of Cetus Finalis)

Lots of this...Many readers are writers themselves, and take interest in the creative process of other writers. There is a substantiated rumor that Suhail Rafidi’s upcoming novel, Cetus Finalis: A Gray Whale Odyssey, was written and rewritten ten times. Or in Carl Sagan speak: A one with one zero after it. Ten times sounds like an exaggeration for effect, so we went to the source. We asked Suhail Rafidi if he actually rewrote the same book 10 times:

Yes, I actually wrote Cetus Finalis 10 times; though I don’t think it’s all that surprising. Any writing instructor will tell you that the bulk of writing is rewriting.

draftHow do you know when one draft is over and another begins?
Because I start at the beginning each time. What I consider a “draft” of a novel comes in two layers, or coats. The first draft is just that, a kind of soup stock. Once it’s written, I number it 1 and print it. Once printed, I begin reading the manuscript for rewriting.

What happens next?
For the first coat, I put the manuscript on my workstation with a blank notebook next to it. Then I read the manuscript with a colored pen, one word at a time, and mark it up, change things, delete things, rewrite things, add things. If the edits fit in the margins, I write them there. If I make a larger addendum – a paragraph or some pages – I inscribe a number with a circle around it on the manuscript. Then I write the same number in the adjacent notebook and compose the passage there.

Open notebook with a ballpoint pen in the centerYou still hand write your drafts? Why?
For the first coat, yes. I feel that I maintain considerably more focus when using a pen and paper. Though the power of desktop computing can’t be understated, holding a stylus and marking the page is an ancient human physical practice. I think it will take longer than a century or two to displace the efficacy of that writing process. Dante had no word processor.

writingSo, who types it up?
I do. Once the manuscript is read and marked up, and the notebook filled with new writing, I take the marked up manuscript and the notebook to my computer. I open the original file of the draft and enter in all the changes, now laying the second coat of the same draft. During the second coat, I do not read every word of the manuscript, I just enter the changes. Sometimes while entering the changes, I make a few more. So, the second coat does allow for that.

So every one of your drafts is TWO drafts?!
I don’t see it that way, but I understand what you mean. I don’t consider a draft done until it is ready to be printed out of the computer again. After I finish entering all the hand written changes, I save the file as the next draft, number it 2. Then print and repeat; on to the next draft.

And you got all the way to draft 10 doing it that way?
Yes.

How much of a change is there between drafts?
Sometimes it is rather drastic; others less. I can’t keep a lot of what I write. The stuff I can’t keep often needs to be rewritten. To give the changes a sense of proportion: the 6th draft of Cetus Finalis contained 42 new numbered passages in the notebook, in addition to the markups I made on the pages. The 7th draft contained 37 addenda. The 8th draft contained 11.

Drafts of Galatea, by Rachel Swirsky
Drafts of Galatea, by Rachel Swirsky

Tune in next time when Suhail Rafidi goes into more detail for aspiring writers about editing Cetus Finalis: A Gray Whale Odyssey, including discarding rewrites, the role of his editor, and the editorial process which refines a novel’s relentless rewriting.

Learn a great deal more about whales, and Cetus Finalis, at the author’s website, suhailrafidi.com.

World-Building & Whale Research

Come October With Me
Come October With Me

Party Note: Mark your calendars! Join the celebration at Suhail Rafidi’s Cetus Finalis book launch on Sunday October 2nd, 3:00-6:00 PM, at San Francisco landmark Finnegan’s Wake (937 Cole Street, 94117) Remember, “book launch” is nerdspeak for “party,” so plan on drinks at the cash bar, autographs, and laughs.

This week we’ve got a fascinating tidbit about the world-building in Suhail Rafidi’s latest novel, Cetus Finalis: A Gray Whale Odyssey. Also, why Cetus Finalis is unlike other books about whales or whaling.

Aside from children’s books, most books about whales are about whaling. (For example, there is a good book about whaling called Leviathan, by Eric Jay Dolan. It goes into considerable and engrossing detail about the whaling industry in America, from colonial times to the Gilded Age.) But Cetus Finalis, though it involves an encounter with whaling, is not about whaling. It is about whales.

hope-orca-skeletonMany research and biological texts about whales are about their ecological placement, feeding patterns, and vocalizations. A small but growing body of research exists regarding whale communication, social patterns, and the contents and meanings of their songs. We do have superficial observational knowledge of some of their more conspicuous feeding and mating behaviors. But Cetus Finalis is something more than all of these, a novel which deals with the whales in their world, on their terms.

Gray whale at Anacapa Island, California (Courtesy of wildlifesalvation.com)

Creating a world for whales on their terms, yet comprehensible to humans, required certain considerations. With an oral history millions of years long, whales may have some brand of cosmology, some stories about where the world, and whales, came from. The trick for Suhail Rafidi with Cetus Finalis was inhabiting whaledom enough to come up with plausible, yet inaccurate (or are they?) stories about the origins of whale reality.

treeFor example, in whale cosmology, the dominant life forms on dry land are the trees. Trees are the largest living things on land, they cover a great deal of it, and they seem to bring life with them. Since ships (at this historical moment) are still all made of wood, the notion that whalers somehow serve trees is reinforced. To say more would give away too much.

Learn a great deal more about whales, and Cetus Finalis, at the author’s website, suhailrafidi.com.

The San Francisco book launch is on Sunday, October 2nd, 3-6PM, at Finnegan’s Wake (937 Cole Street, 94117). Mark your calendars and join the fun!

 

Uncanny Valley Digest: The Left Hand Of Darkness

lefthanddarknessLast night’s The Left Hand Of Darkness discussion turned the genre on its head! A bevy of enthusiastic readers pitched in to rock some pizza and admire the handiwork of this deep and multifaceted novel.

In precisely the way Bacigalupi does not, Le Guin actually goes through a lot of trouble to imagine other ways of being. She has crafted a world that does not [yet] know war, coupled with a powerful vision of a world where genders are removed from gender roles.

An interplanetary human Envoy has landed on the planet Gethen, with invitation from the stars to join the interstellar planetary community, the Ekumen. The natives of Gethen are a snow dwelling ambisexual species of humanoid which – though their radios work – have not invented flying, or war. Will complex political intrigue threaten the success of the Envoy’s mission, or rescue it?

Ursula K. Le Guin takes us deep into the pliable notional mysteries of human relationships and meditates on our inclusion in the tapestry of life. Now for the notes!
<><><><><><><><><><><><><><><><><><><><><><><><><><><>

David: From Le Guin’s introduction. How sci-fi is not limited to extrapolation. Sci fi is thought experiments! Le Guin wrote in the intro, “Almost anything carried to its logical extreme becomes depressing, if not carcinogenic.”

Meg: Le Guin uses elements of the travel narrative and anthropological soft science fiction to justify her rich and verbose info dumps. She sets the tone for this as a collection of field notes, more than a novel. Erik, who has read “more anthropological field notes than I have read science fiction books,” said that much of this novel read very naturally as if it were field notes and did not smack of a novel. Interesting to note that Le Guin is the child of two heavyweight anthropologists, not just scholarly types, but real celebrity status anthropologists in the Bay Area. (Alfred L. and Theodora Kroeber. In addition to many other things, the Kroebers are the scholars who cared for and documented the life of Ishi.)

Screen shot 2016-07-11 at 7.47.19 PM

Which genres is she blending? Fantasy and Sci-fi, of course, but many more. The travel narrative, hard sci-fi, political intrigue, romance novel. It’s so fantasy in some regards that readers crave a glossary and maps, the way lots of fantasy books give. But she leaves it to the reader to deduce the world around Genly Ai. Readers are along for the same ride as Genly Ai, to figure out how this world operates, and where its variations are.

Where is the romance novel? Which two main characters begin by disliking and distrusting one another, but discover by the end a deep loving intimacy, but because of their social circumstances are prevented from acting on their newly discovered love…? C’mon, it’ll come to you…. Exactly! A romance novel.

Le Guin’s using high-falootin’ Big Idea sci fi here, like Asimov in the Foundation works. Big political and social spectrum considerations. Getting the reader to think about social structure in the abstract, yet so strongly grounded in these everyday characters.

Erik remarked on the contemporary anti-war climate of the writing at that time (This book was published in 1969.) She is laying out a very strong thought experiment to imagine a world without war. Killing and crime, sure, but not war. (Or as she does in The Dispossessed a thought experiment of an anarchist world and how it might actually operate.)

Screen shot 2016-07-11 at 7.47.23 PM

Powerful theme of questions and answers. The value of not asking unanswerable questions. P.70 “the perfect uselessness of knowing the answer to the wrong question.” P.151 “To learn which questions are unanswerable, and not to answer them: this skill is most needful in times of stress and darkness.”

Tangent about Cordwainer Smith as a very important author of the New Wave, and a discussion about reading some of his short stories this Autumn.

Erik: Tangent about Micheal Saler’s book, As If, which discusses the growth of fandom in literature. “Enchanged disenchantment.” Playing with the idea of literary characters being partially factualized and tracked, like with Sherlock Holmes, and later with Lord Of The Rings stuff.

The Foretellers’ ceremony: WOW! It’s about the question, the journey. The answer doesn’t matter. A good question is more valuable than its answers. Just knowing that the planet will join the Ekumen does not tell enough. Nothing about Estraven and Genly’s character changes. Even knowing the Foreteller’s answer does not shorten the road.

She’s advocating a great model of the anthropological approach to everything, being changed by the other and them being changed by you.

p.135, The Ekumen “is an attempt to reunify the mystical with the political,”
We talked about the implication so that short statement for sometime. When were they ever united in the first place? Perhaps in pre-literate oral cultures, where all documents were spoken and remembered only?

Erik: Regarding the Ekumen, Erik mentioned “a sensibility that encourages an incounter with the Other. That interaction has a mystical and spiritual dimension.” Also, A “Human quality of being open to otherness, but with care. To be open to the other, you have to in a sense be broken open to the other. Be at ease with the tension and uncertainty (including the erotic tension) that comes with the charge of difference.

Suhail: Le Guin is even dispensing with the assumption that we have to resolve or somehow flatten or homogonize that charge of otherworldly difference before we can begin meaningful interactions and exchanges. The uncertainy is permanent. Dualities are experienced simultaneously instead of with mutual exclusivity.

See you next time!
HA!

Struck off on a tangent of other sci fi writers culminating in the most humorous comment of the night, from David Gill: “If you’re into Dick, you can’t go deeper into Moorcock.”

Commentary about the modern syndrome of needing security, security fetishization, security theater (in Naomi Klien’s words), and how creepy it is.

Meg: By being ambisexual androgenes, the Gethenians are an embodiment of the contradictions. Making peace with permanent uncertainty.

Meg: When this book 1st came out it was derided as a radical feminist screed. Le Guin actually had to write an apology article to the male sci fi scene. Male sci-fi writers attacked her for being a feminist. But she did not describe herself as feminist, as much as they introduced the label into the discourse for the purpose of sullying it and her. She was criticized for the sexuality and kemmering stuff, and the foretelling. But they did not note her very powerful vision. Or maybe their attack is how they did note her powerful vision. As Le Guin says in chapter 11: “To oppose something is to maintain it.”

Le Guin’s incredible versatility. She writes all sorts of stuff: Poetry, children’s books, YA, essays, etc.

Meg: “She brings optimism, but she is not sentimental, and that’s why it’s so great. She deftly illustrates the sophistication of all these mixed emotions and THAT is the greatness of literature.”

Erik: “She’s super smart, super aggressive, but not sentimental.”

This novel actually tries to imagine “other ways of being,” a phrase Le Guin uses in her National Book Award Acceptance speech. We ended our session by watching this elegant 6 minute speech. Now here’s a link for you to watch it:

Screenshot 2016-07-12 at 12.04.17 PM
https://www.youtube.com/watch?v=Et9Nf-rsALk

Thank you for reading! Reading rules!