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!

 

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Uncanny Valley Digest: The Triumph of Mechanics by Karl Stobl

Stobl was influenced by Edgar Allen Poe. He started a fantasy magazine predating Weird Tales by two years. This story was written in 1907, before both world wars. It was not translated into English until 2016, primarily because Stobl was relegated to the literary dustbin for joining the Nazi party prior to WWII, becoming a high official in the Nazi writing and propaganda campaigns. We read this story so you don’t have to.

David: He’s a full on Nazi. This guy likes his shirts brown.

Group: HA!

David: Is there anything Nazi about the story? I don’t think so.

BunniculaChris: Well, there’s a gesture toward the inferior beings reproducing too much.

David: Where’s the sci-fi?

Chris: The self-reproducing mechanism. Earliest instance of a “grey-goo” problem, that disassembles everything into itself, and can build nothing else. A rabbit that has a litter of six overnight.

Here’s looking at you…

Nowell: I feel like this is a mild recapitulation of Frankenstein, though a little more sinister, where the scientist says, “You’d better grant me my wishes or else.” No one understands me, the brilliant scientist, everyone laughs at me until… they feel the wrath of my hideous revenge.

David: It’s still sci-fi if there’s a punchline.

Chris: It’s not really a punchline, more the creepiness of rabbits.

David: At least this is the first story we’ve read this summer that has a character, and scenes.

Nowell: I love the line, “I don’t think you know what a billion is,” and the images of a snow covered city, which is actually rabbits. A fun little vignette. Though let’s be honest, Hopkins is a total asshole. 🙂

Suhail: At least it’s not an essay, like the last two. Another grad school story.

David: Interesting that it, like Rokeya’s story, has been ignored by the canon, but for totally different politically (in)correct reasons.

Suhail: The concept reminds me of that Dick story, do you remember it, Dave? The one with the ant swarm, where the shoes are reproducing like bunnies…

David: That’s “The Short Happy Life Of The Brown Oxford”

Suhail: Yes! That one.

Chris: It reads better as a thought experiment. I think it’s a joke.

Click to enlarge.David: The science fiction and bureaucracy interact and have a Brazil-like effect (the 1985 Terry Gilliam film.)

Chris: It is Brazil-like.

The industrial rivalry. Of course, the mad scientist is a creative American who’s figured this trick out, and he’s playing fast and lose with German expectations.

Chris: An O. Henry story, with rabbits.

David: What do you mean?

Chris: There’s a twist. The story is meant to set up the twist.

David: It’s a fleshed out story. From academic perspective, it’s approaching or prefiguring the pulps.

But, again, not fun to read. We read this one so you won’t have to. Join us next week, when we’ll discuss Rachel Pollack’s “Burning Sky”

Thank you for reading. Reading rules!

Uncanny Valley Digest: Sultana’s Dream By Rokeya Sakhawat Hossain

Our Sultana’s Dream discussion clinked like porcelain at a tea party! The story had the same essay quality and social critique agenda of The Star, but in a firmly feminist perspective. Everyone present appreciated the story for it’s intentions and for it’s technological whimsy, but it was not exactly “fun to read.”

Rokeya Sakhawat Hossain, (also Begum Rokeya) was a British Indian citizen. She was a Bengali Muslim educator and feminist social activist. Pioneer of education on the Indian subcontienent. A heroine of Bengali and greater Indo Pak Bangla culture. Her life was all pre-partition India, so in modern terms her homeland during her lifetime was the Indo-Pak-Bangla subcontient. She advocated for total gender equality, and education of girls and women was the first necessity to establish equality.

Suhail: It was cool. It was imaginative. BUT, another essay story. Ho hum. I liked the way she thought out the technological solutions to basic needs problems. She sticks to the basics and gets thorough: unlimited clean water, unlimited solar energy, no violent weather, no need for rain (or mud). Homes are more secure. Clean transportation technology is exclusively aerial, making streets and railroads obsolete. Garden and plant technology has made even streets and

What do you do when you miss your train of thought?

David: The flying cars. It’s right out of Ralph 124C41, plus.

Suhail: There is a parable-like oversimplification of men and women, but even here again she sticks to basics. I don’t think that anyone would disagree with her that on the whole men are more violent than women, but to imply that only men are violent is too convenient. BUT, the beauty of it being a simple inversion is that any criticism we can apply to the way the women run things is merely a valid criticism of the way the men are already doing it.

Wait in the station for the next one.

Chris: Heh, nice.

Nowell: Interesting narrative, especially for the time. Love the floating personal airship thing, seems like something out of anime, very steampunk. Intrigued as to what the whole “sacred” discussion was about, with certain men relegated to the zenana being “sacred” by relation. Didn’t have time to research, maybe someone else can provide some insight. I didn’t read the intro from the anthology, did it say things about any backlash or was the tale kept secret for many years? At the risk of belaboring the obvious, it has a very pointed, angry criticism of the men in India. And if I had to wager a guess, rightfully so!

Ryan: Colorful, silly, cute short story during a time of woman’s suffrage. A political statement at a time o the precipice of great change in gender dynamics. Her tone is utterly defiant of men for thier foolishness and oppression. It’s the inverse of Indian culture of the time. The imagination was embracing a science consciousness, one of peace and harmony in a world without men.

Suhail: I like the alternate history of the wise Queen’s legacy and the keen way in which Lady Principal won the war – by blinding the enemy with sunlight cells.  Trouble is, and it belies the flaw of a lot of Utopia stories, What made that the final war? It’s a “mannish” flaw, women won the final war with an ultimate weapon, and for some reason no one ever begrudged them anything again. Unlikely. What happens when the losing country develops their own sun cell bombs? That decisive overwhelming military victory is the precondition for all of this utopia. But that is a flaw in most utopia stories: “If we just use my for of dictatorship, everything will be fine.” Socially, I like the way she’s reversing the roles for a commentary and satire, especially at her historical moment for the feminist movement.

Ryan: It was a dream, which I find interesting having written Asleep In Green. And because it was a dream it’s allowed to be anything the author wants, to flying cars and solar power have a grounding. Also important to mention these hadn’t been invented yet, which makes it sci-fi.

Tasty BBQ wins the evening.

Chris: It’s not superstitious, just a little ‘stitious.

Suhail: Heh, nice.

David: From an academic perspecive, it’s fascinating to grad students.

Chris: Our list is interesting as artifacts in sci-fi development. But they’re not that fun to read.

Suhail: She thought this out. It’s cool, and many aspects of it are likely, if we accept the premise that women are without sin simply by virture of being women. But no, Suhail, it posits that even sin in women, among women, would be rectified in a peaceful and fruitful way instead of (as with men) in an aggressive and punishing way.

David: This would be good for Lena’s race and gender class. Like Wells, it’s designed to move the needle of public opinion.

Chris: She just flipped one switch, reversing the gender roles. It’s not some explicit political magic.

David: A bit of both. It’s not colonial oppression that she’s bothered by (because she doesn’t mention it, at all), it’s the lack of women’s equality.

Women’s rights march on Fifth Avenue in New York City, 1976. Courtesy of Bob Adelman

Tune in next time when we cover Karl Hans Stobl’s “The Triumph of Mechanics.”
Thank you for reading. Reading rules!

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Margin notes:
P.1 A walk in the garden. A utopia story. Crowds, but no men.
P.2 Purdah and the purdahnishin. The Muslim practice of full social segregation of women and men. Women wear full body clothing and veils, they live in zenanas, separate partitions of the house from men. The near total seclusion of men from women.
P.2 Park and Garden technology. Grass is a cushion. Carpets of moss and flowers. These are streets! Street flower technology that can not be harmed by being stepped on.
P.2 Men in society are equivalent to wild animals in a marketplace.
P.3 Animal/parable response. A lion is stronger than a man, but does not dominate men. Strength is not a sufficient condition.
P.3 The female new world order. 2 hour work days in the lab. Because men used to smoke and bullshit for 6 hours of their workday anyhow.
P.4 Disease is cured. Solar ovens. Solar power cells for all energy! How did it become this way? The back story begins.
P.4 The good queen. The two women’s universities. The solar power, and water harvesting balloons. Weather control. All invented by women while men were building their military arsenals.
P.5 The men called the women’s abundant energy and clean water “a sentimental nightmare.” The men ended up in the zenanas. They were not overpowered by arms.
P.5 Do not reply with words, reply with deeds if you get the opportunity.
P.5 A refugee crisis leads to way. The war wipes out all men over age 16. The surviving boys are kept in the zenanas. The women decided NOT to fight in their mens’ stead. Use your brains, ladies! says the Queen.
P.6 The women agree that they would rather commit suicide than be enslaved. So they will try one wild hope first. The boys are hidden away in the mardanas (renamed zenanas). Lady Principal with 2,000 ladies marches out and use the solar cells to blind, panic, and fry the opposing forces. Then they concentrate the solar cells even more and destroy all of the enemies weapons and munitions.
P.6 How lucky. What happens when the vanquished aggressors develop their own solar battery nukes?
P.6 None of the women commit crimes. And if they do they need only be chastised. And the young boys who grew into the mardana system became excellent fathers and good cooks.
P.7 All aerial travel. No roads or railroads. Nice! Mechanical farming. We don’t need burly men for manual labor, either. All necessities are easily cared for and seen to.
P.7 Bare bones religion: “Love and Truth.” Liars are exiled unless they repent sincerely.
P.8 A quick assembly hydrogen bubble helicopter air-car. It’s how everyone gets around without roads.
P.8 Men are less moral. Women prize knowledge of the gifts of nature. A different value system.

Uncanny Valley Digest: The Star by H.G. Wells

Author H.G. Wells (1866 - 1946) Shown: H.G. Wells (1932)Our recent H.G. Wells discussion careened into the sun! This essay-style short story (published in The Graphic magazine, December 1897) sets the tone for the whole “catastrophe-from-space” impact genre of sci-fi (Armageddon, Deep Impact, Hale-Bopp, etc.). The idea that a rogue celestial body could blindside the earth in it’s orbit has been a consistent cultural and astronomical concern for over 1000 years.

When Halley’s comet made it’s 1857 pass by earth, 40 years before “The Star” was published, earthlings were terrified because many were sure it would crash into us and tear the planet asunder.

In fact, just 13 years after this story was published, Halley’s comet made it’s 1910 pass by the earth. Using new instruments, astronomers discovered a poisonous gas, called cyanogen, in the comet’s tail. Sensational panic spread that the cyanogen would kill all life on earth.

Planetologists and cosmologists theorize about impact events all the time. It’s an integral component of theories explaining the formation of the solar system and the planets. NASA’s Jet Propulsion Lab runs a program tracking and documenting Near Earth Objects. In fact, last month a tiny asteroid disintegrated in our atmosphere above southern Africa. And that is what happens to most objects that collide with earth; they’re too small or fragile to make it through our atmosphere. But several do make it through. As far as the ones that crash into the oceans, we never hear about them.

We were reminded this evening that H.G. Wells contributed significantly to the zeitgeist of science and science fiction culture. Like it or not, this white Englishman was a good writer, and brings a lot to the table. He strongly believed that literacy in the physical sciences was the pathway to the betterment of humanity.
Chris: Early cli-fi. A solid piece of apocalyptic fiction.

Wells was born poor and won a writing contest when he was a young boy. But he wrote well enough to carry it off and make a lifelong vocation of writing. In his lifetime he became world famous for his journalism, fiction, and science fiction. Though today he is remembered exclusively for his science fiction. [The Time Machine, War Of The Worlds, The Invisible Man, The Island Of Dr. Moreau] The scientists of his era credited him with the scientific imagination that would point the way for actual scientific endeavors. “How smart will the robots be, Herbert?”

David: He’s a Darwinist when Darwinism was new, and he’s explicitly political and socialist. He’s using art to move the needle of public opinion. That shift to ‘human beings are not important, you’re not divinely created, so get used to it.’ That was an excruciating thing for Victorian England to wrap it’s mind around.
Chris: It’s inconceivable! [in Princess Bride voice]
HAHAHA!
David: It’s the anti- “everything-happens-for-a-reason” story.

From the Wells bio in the Anthology:
“But Wells found such stunts from his rival [Jules Verne] annoying and was less interested in whether a mecha-elephant could actually clomp and clank across the earth than in carthing the effect of mass societal changes in technology and biology.”
David: To me that sounds like the major dichotomy in sci-fi today.

Like Poe’s “Descent Into the Maelstrom.” But in Poe the protagonist uses his scientific knowledge to save the day. In Wells’ story, we’re sitting ducks.
C: Well we’ve had maelstrom, let’s have femaelstrom.
YES!


David: Why are human beings driven to stories about these incredibly hard tales? Why do we get hung up on disaster narratives? Especially if Freud said that people are basically motivated by pleasure – then why this romance with catastrophe? “Nature doesn’t care about you. You’re on your own. It’s just you and your ingenuity and reason.”

Nowell: Maybe to have the experience without the danger. Like catharsis in Greek tragedy. The Greeks had entire festivals for that stuff.
Chris: An Ozymandias quality, that everything falls apart, but it comes back together better. It’s almost a culling, and Wells says the only way to get better is by enduring the cullings.
Nowell: It’s like an antidote to hubris.
David: As if you could get around it.
Suhail: People get very touchy when you apply scientific observations about the animal kingdom to human beings.
Chris: Just try denying your animal nature.

Click to enlarge
Click to enlarge

David: Did you know that Wells was one of the authors behind the United Nations Declaration of Human Rights?
Chris: No, I didn’t.
David: And he visited with Roosevelt, and then Stalin, within 10 days of each other, as WWII was waning.
Chris: A modern day socialist Thomas Jefferson.

Chris: All of his depictions of people outside of Europe are racist and patronizing, BUT-
David: -but they are represented.
HAHA!
Chris: BUT they do move the story forward. Also, he put the worst damage to the earth in India. Death on a grand scale happens outside of Europe, and outside of Christendom.
Suhail: And Greenland and Iceland become verdant paradises. Also, think about India in relation to England in 1897, in the heyday of the colonial grip.

Calling all science fiction lovers...Suhail: I didn’t appreciate that it was all an essay. No dialogue, no main character.
David: It’s a long pullback – to Mars. The last paragraph, showing what the Martians think of our catastrophe and (page 9) “how small the vastness of human catastrophes may seem, at a distance of a few million miles.”
Nowell: It’s a pullback to Mars, that’s brilliant. The whole story was an intro to a much bigger narrative. That first-to-last paragraph about how people live after the catastrophe, that seems like where the story starts.
Suhail: But that first-to-last paragraph was written in the same distant fleeting tone as the rest of the story. Still, I see what you mean. He wrote the story from a few million miles away. And the last sentence makes it on purpose.
David: The Simpsons did a whole episode dramatizing this story, where Bart sees the star growing in the sky.
Suhail & Nowell: Ha, I gotta see that.
Regarding the lack of characters:
David: The whole world is the protagonist. A cosmic force is the antagonist. That’s Wells’ profession, his actual job – the great imaginer. And the scientists came to him for imaginings of technologically driven social changes of the future.

Highly recommended by Chris: Two books by David Zindell “The Ignorant Gods” (Beautiful and strange. All the cetaceans are sentient, and humans are a problem. One of the killer whales wants to communicate with humans) and even better, “Neverness” (which everyone should read) Zindell is a great unsung American writer. Designed to be read out loud.
See you next week!Thank you for reading. Reading rules!

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Reading notes:

P. 1 Waxes poetic about the size and scope of the solar system and a tiny observation of an object approaching Neptune. Hardly anyone notices, especially if they didn’t know science.

P. 2 The light starts changing in the sky. Observatories are abuzz. “And where science has not reached, men stared and feared…these firey signs in the Heavans.” The object strikes Neptune and the two celestial masses become one flaming almost-star. And it’s growing.

P. 3 “It is Nearer.” “It is nearer.” Ominous. A tour of the world remarking on the event. This page contains the most dialogue in the entire story (all packed into a couple paragraphs). And some romantic and evocative images that work best in brevity, like the African lovers in the can break calling the new star their own.

P. 4 The “master mathematician” makes his decree, “Man has lived in vain.” “What was that about ‘lived in vain.’?” The new star is coming for us. It’s falling toward the Sun and it’s going to hit us along the way. It’s still growing. The air is heating.

P. 5 Nearly daytime at night. “In the cities the lamps burnt yellow and wan.” Religious panic spreads. Bells tolling. End of days hubbub. “Throughout Christendom a somber murmur hung in the keen air” “and this murmurous tumult grew to a clangor in the cities.” People fleeing blindly en masse, leaving land for the seas, in the hopes of surviving the floods afloat. Noah’s arks everywhere.

P. 6 The star is getting faster, and brighter, and hotter. Unprecedented natural disasters are foretold. But despite these panics, 9 out of 10 people are either ignorant or trying to ignore it and go about their business. Comets had come near us before, and we did just fine. Remember the year 1000. Precedence and common sense were against a collision. There were still plenty of fold around to laugh at “the master mathematician.” Then the laughter ceased.

P.7 The heat brings thaws and devastating floods (global warming stuff! 🙂 The gravitational tides bring tidal waves and volcanic eruptions and hurricanes and thunderstorms. Even the snow in the Himalayas melts away.

P. 8 The star gets faster, hotter, brighter, closer. People still on land swarm to high ground, packed like sardines. The star, towing the black disc of Neptune, finally crashes into the sun, missing earth. The world is covered in clouds (TJ & Tosc style) BUT “the thunder and lighting wove a garment around the world;” “a downpour of rain as men had never before seen.” Volcanoes became mudslides and “the earth littered like a storm-worn beach.”

P. 9 “But the star had passed.” People could now creep back to the ruins. A new brotherhood among men, preserving the lost knowledge, “the saving of laws and books and machines.” Iceland and Greenland become green and lush places. Mankind migrates toward the hotter poles (global warming). Life will become impossible near the equator.
Last paragraph: The Martian astronomers observing the scene on earth. “One wrote, ‘it is astonishing what a little damage the earth, which it missed so narrowly, has sustained.” “how small the vastness of human catastrophes may seem, at a distance of a few million miles.”

Uncanny Valley Digest: Arthur C. Clarke (and Kubrick’s) 2001: A Space Odyssey

Our 2001: A Space Odyssey discussion was a voyage of Discovery! (wink) Welcome to our new members, and thank you for your participation. It was also great to see folks who’ve become prized and familiar over the past 5 years. (Yes, that’s right, readers, this summer is our 5th in the Valley. Here’s to many more!)

We started the discussion with what we liked about the book: the readability, the predictions (like the app-style UI of reading the news sounds just like an iPad), Clarke’s light touch and fun with science and technology popularization, the impressiveness of the long journey through time and across the entire solar system, the tiny creative ways in which Clarke teaches the reader about science and physics. (Even though you may only weigh 30 pounds on the Moon, you’ve still got that 180 pounds of mass, so be careful when changing direction, it’ll be harder than it seems.)

Suhail was particularly taken with the subtlety of HAL’s corruption. HAL was set on the course for psychosis because he was ordered by Mission Control to withhold information from the crew regarding the existence of the monolith. But it goes even deeper. In essence, Mission Control gave the monolith assignment to HAL, making the crew redundant backup workers that HAL was required to keep alive. HAL cracked, then panicked, because he was tasked to lie to the crew. Where does murder come from? Can a computer commit it? In this vein, David mentioned that Clarke very literally takes us into Mashahiro Mori’s original Uncanny Valley, regarding the aesthetic moment when a robot resembles a human just truly enough to creep out a real human.

The second half of the discussion was about what we didn’t like about the book: the obvious, to the point of being almost entertaining rather than offensive, western white male characterization of women (and reality) as mere extensions of space-man’s noble goals. The naming of space pods after women because of “their unpredictability.”  Also, Clarke’s lack of a voice other than his parochial pedagogical scientist-father narrator.

Chris thought the book might have been more interesting if Clark had tried inhabiting characters that weren’t mere duplicates of himself (basically all knight-in-shining armor western problem solvers like Heywood Floyd, Frank Poole, Dave Bowman, et al.) Clarke’s conceit runs deep in that regard because he basically frames all of the evolution of intelligent life on earth as a process meant to lead homo sapiens into space ships. Kind of silly when you take it in the big picture. Clarke does not seem to know how to write about the true unknowns, the inscrutable puzzles of existence. He has to fit everything in a box. But since the end of the book is literally about transcendence, there is some difficulty in making the ending come together.
Suhail: “He doesn’t have a mystical voice.”
David: “He can’t tackle the sublime, the Eldritch, the unknown. Life isn’t that certain and simple-”
Suhail: “-but Clarke is.”
Group: HAHAHAHAHA!

Kubrick's 2001: A Space OdysseyMovie/Book Relations: The movie significantly enriches the book’s characterizations. Alternately, the book makes the movie’s scenes (the dense, long shots) make more cohesive sense. Kubrick’s characters are a lot richer than Clarke’s. It’s a great symbiosis, even with the inevitable alterations which an adaptation to the screen brings. (Especially the technical “show-don’t-tell” syndrome, Clarke’s authoritative jargon for his enthusiastic popularization of science.) Lots of the book and the movie come off almost like an R & D video for Lockheed Martin. (Here’s how it’ll be, folks.)

David: “This book is precisely what sci-fi is reacting against now. A really racist sexist paradigm that convienently ignores the uncertainties of reality. I’m proud of today’s sci-fi for tackling this paradigm, actually.”

This lead to some discussions about Kim Stanley Robinson, Octavia Butler, and way beyond, to where science fiction may have began. On the origins front, we were torn between Shelley’s Frankenstein being the first sci-fi, or Johannes Kepler’s Somnium (The Dream).

BANANA BREAD BREAK! (Thank you, Marta!)

Octavia E. ButlerAdditionally we kicked around some demarcations for what constitutes science fiction. For example, Octavia Butler’s genre-straddling Kindred is considered sci-fi because of the time travel, but doesn’t contain a single technological element after that. It’s mostly a historical novel, but it works as sci-fi somehow, because it shows us the world of slavery through the perceptions of a modern feminist. Suhail thought that sci-fi was marked by any presence of “fictional technology.” David added that sci-fi is characterized by an attempt to “literalize the figurative.” This bit of the talk got good, but my notes are insufficient, because I was so involved.

The 2001 novel, written from 1964-68 (before the moon landing, mind you) is the last ornament on Golden Age sci fi, science popularization, cheap gender and culture tropes, lots of love for the gear, explaining how the hard science might actually work. Nikita mentioned how this was similar to Gernsback’s Ralph 124C41+.

Nikita: “The element of sci-fi where explaining the technology is a pleasure in itself.”

Lena: “The science fiction and fantasy arena could be anything. So why not make it anything? Where are the diversities? Why the hostility toward other voices?”

Wrap-up: A great book, and movie. It’s worth your time, but also give yourself a chance to see how much things have changed (especially culturally) based on Clarke’s approach.

Please join us next week where we discuss “The Star,” by H.G. Wells.

Thank you for reading. Reading rules!
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For more detail, here are page-by-page reading notes.

Clarke’s Introduction
viii – Going for “mythic grandeur”
xvi – Written in 1964-68, before the moon landing.

Part 1 Primeval Night (p. 1 – 40)
The history of humanity in 33 pages.

Part 2 TMA-1 (p.41 – 104)
All of short Chapter 7. Indicative of a dense technical style. Clarke’s better at this than characters. Lots of detail about how this technical process of space travel might realistically be manifest. (pp. 42, 46, 48, 60-64, etc.)
44, 45- social/political problems are as bad as ever. overpopulation, food supply, starvation, nukes, etc.
49- The last space opera before space travel IRL
51- virus mutations
46- Space travel as common as air travel. Why hasn’t this happened?
47- Trite and flat spoonfed characterization. Just get used to it.
48- Technical detail, plays like an R & D video for Lockheed Martin.
54- Planetary erosion. How many moonrocks are no longer on the moon?
55- Clarke, the great predictor, heh. The tone, though.
56- Movie Note: In the movie, at least he calls his daughter, not the secretary. Flat, Heinlein-y characters
61- Easy to relay in space.
61-62 He oversells space food.
63- Detailed, app-style UI/UX descriptions
65- Am I watching Mad Men? White privilege paragraph
66-68 A well-written passage about scale, where 1000s of feet is miniscule.
72- Art for sanity’s sake.
72-3 Good detail about moon life and weight vs. mass
73- Classic technological optimism style.
77- The space-born humans —- I dunno.
83- Nice contrast to Moon Watcher’s 1st experience with the monolith.
90- Sagan stole this trick in Contact.
94- Good detail.
98- None of the sci-fi writers seem to have predicted the digital camera – heh.
99- What do the primes mean? What are they telling us? That ET realization.
104- The trap sprung.

Part 3 Between Planets (p.107 – 146)
108- We’re going to Saturn, not (as in the movie) Jupiter.
108- The sequel is built in. (Also 137, at Europa)
110- Hibernaculum. A joke to Dave’s homunculus problem. Heh.
110-11 Foreshadowing. Trip lights. emotion
112-3 Space infancy. Mother’s milk.
116- The HAL/IBM joke. Fixed it!
117- Tiny white privilege reveal
117- AI fact check. What course did AI actually take?
119, 129 HAL foreshadowing
120- Chapter 17 Technical. R & D Video for Space Exploration
122- The advancement of cross-disciplinary learning at the expense of colleges and universities.
125- Scientifically speaking, Discovery has Salvadors
128- Clarke’s uptight dweeb side: Why not just let them have their porn and masturbation instead of drugging their sex away?
130- Great scaling of the asteroid belt.
132- The asteroid flyby. Still target practice

Part 4 Abyss (p.149 – 211)
150- An important consequence of isolation.
169- Silence as a response. Tsk, tsk.
180- Poole attacked. Maybe HAL was just trying to get the AR-35, not Poole.
180- When it’s time to emote, it’s all “show-don’t-tell”
182- Movie Note: Poole’s death is very different.
184- How is murder born? Can a computer commit it?
192- Chapter 27. HAL’s mind. The lie. Redundancy. The Fatal Flaw. (123- HAL’s size, 127 Games)
197- A potent image. Trapped in an air bubble in space, from air island to air island.
(And the powerful contrast of how unnecessary all that will be once Bowman transcends.)

Part 5 The Moons Of Saturn (p.215 – 255)
218- BARSOOM. Heh. Nod to John Carter’s Mars (Edgar Rice Burroughs)?
219- Sounds cruel. Does that even qualify as an experiment?
220- The core of AI is the study of our own human psychology.
220-1 Don’t Panic :o). HAL’s motivations laid out. They forced him to lie, and it made him implode.
225- Heh. Neils Bohr: “Your theory is crazy – but not crazy enough to be true.”
227- For Clarke, technology is a rung on the ladder to God. If consciousness could be housed in a machine instead of an organic body, eventually it wouldn’t need the machine, either. (245 – 6, and 249)
231- Clarke as a science popularizer.
232 Saturn’s rings and the monolith and us.
234- “the western side” of an orbit. Cute white privilege seep.
238- Bowman holding it together.
242- “Call it the Star Gate.” Why? :o)
243- Second monolith, EXPLAINED. Chapter 37 (Part 1 callback)
246- Ensconced in a comforting world-view that all of evolution was set up to lead homo sapiens to spaceships. A playful, and silly, conceit. Clarke’s uptight dweeb side.
249- Star Gate’s job is to bridge the organic to machine interface of mind, to be the next rung on Clarke’s Mind ladder – from body to machine to transcendent spirit in space.
251- “In all history, he was the only man to have seen this sight.” Heh, Clarke’s white privilege pipe dream in a nutshell.
251- Brave, chivalrous Bowman.
254- Bowman won’t be needing air anymore.

Part 6 Through The Star Gate (p.259 – 297)
260- Movie Note: The long psychadelic light show of the Star Gate travel.
261- A nice way to approach hallucinogenics: “a sense of calm expectation.” “The world around him was strange and wonderful, but there was nothing to fear. He had traveled these millions of miles in search of mystery; and now, it seemed, the mystery was coming to him.”
262- seems to be describing an interstellar freeway exchange at these monolith Star Gates all situated on one synthetic planet, a hub of Star Gate pathways.
263- A conceit.
263- Cool shipwreck image! Missed the interchange, ha.
264- A passing ship.
265- He takes his highway.
267- Handy, scientific, globular cluster deduction for guessing how far he might be from home.
269- He visits a binary star system
271- He visits a starship graveyard
275- He visits a dying red star orbited by a tiny brilliant white dwarf, which is drawing up an energy column of flame wider than the earth and several many thousand miles long.
291- Bowman set back to Zero. Next stage in Clarke’s body-machine-transcendence Mind ladder
292- Callback to Part 1
294- The double star was a re-birthing place.
295- Like when a drug trip grazes near “bad,” but all is well. The life form Clarke is trying to describe reminds me of Cordwainer Smith’s “Game of Rat and Dragon” space entities (but less malevolent).
297- Bowman pauses at Earth, stops nuclear war, then heads out to the great beyond. Last page.

Uncanny Valley: Science Fiction Summer Reading Group

If you buy one book this summer...Science fiction lovers, attend! Summer is smiling upon us, and the weather is balmy in the Uncanny Valley. Who needs Virgil when you’ve got Total Dick-Head David Gill and sci-fi author Suhail Rafidi to guide you through the storied landscape of shadows and wonders, crafted by some of science fiction’s best writers, past and present.

This summer, we’re reading one novel and six short stories over the course of six Monday evening gatherings. For those who traversed the Valley with us last summer, good news! All of the short stories are selected from same anthology we used last year, The Big Book Of Science Fiction, edited by Ann & Jeff Vandermeer. So if you bought that prodigious doorstop of a book, crack it open – time to go again!

Where & When? (IRL and Online)
Six Monday night discussions, 6:00 PM Pacific (6/25, 7/2, 7/9, 7/16, 7/23, & 7/30)
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

What Are We Reading?
The novel first. In honor of the 70mm re-release of Kubrick’s classic, we’re reading Arthur C. Clarke’s 2001: A Space Odyssey. This novel was simultaneously written as a screenplay, forged in collaboration between author and director, as the film was being produced. Much like Fritz Lang’s Metropolis.H.G. Wells, care of Tantor Media

June 25th: 2001: A Space Odyssey (1968) – Arthur C. Clarke

July 2: “The Star” (1897) – H.G. Wells  [Download PDF]

July 9: “Sultana’s Dream” (1905) – Rokheya Shekhawat Hossain

July 16:“The Triumph of Mechanics” (1907) – Karl Hans Strobl (Gio Clairval 1st English translation, 2016)"Violence cannot destroy the body of the Goddess, for Her body is the world itself." - Rachel Pollack

July 23: “Burning Sky” (1989) – Rachel Pollack
“Remnants of the Virago Crypto-System” (1995) – Geoffrey Maloney

July 30: “The Poetry Cloud” – Cixin Liu (1997)

BONUS NIGHT (TBA): In honor of this year’s Kubrick's 2001: A Space Odysseyre-release of the groundbreaking film, we will be hosting a Sunday screening of Stanley Kubrick’s 2001: A Space Odyssey. Stay tuned, and get reading!

Mark your calendars. Start reading 2001: A Space Odyssey, and join us for the first meet on Monday June, 25th. From David and myself, see you Monday evenings this summer.

With The Total Dick Head Himself!

Keep track on our Facebook Page:
https://www.facebook.com/groups/496095803825881/

Thank you for reading. Reading rules!

Uncanny Valley Digest: Manjula Padmanabahn

Hello, and welcome back to lip-smacking science fiction in the Uncanny Valley! Our “Sharing Air” discussion was the champagne’s bubbles! What happens when you’re buying air like bottled water? Are you aghast at the prospect? Or proud of how many flavors you can afford? This tidbit-length story packed a conversation-rich wallop.

“Sharing Air,” by Manjula Padmanabahn was published in 1984 in New Delhi’s New Sunday Express magazine. Another story of ideas; a pollution and climate change story that sets us up for Kim Stanley Robinson next time. Padmanabahn depicts the absurdity of the new culture that settles in after we adapt to rampant pollution.

Why the shortest story in the penultimate meeting? This week is our deep breath before a plunge. Our next discussion will be a full length novel, the latest from Kim Stanley Robinson: New York 2140. We will reconvene Even though you’ve still got four weeks to read it, Robinson’s book is nearly 700 pages long, so start now. Now for the notes!

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Padmanabahn’s story contained some essential character expression that was sorely lacking in Borges. The double edged satire of our flawed character narrating the story gives the sci-fi reveals a nice crackle.

"Are we there yet?" "Maybe we passed it."Welcome to HelDavid: “This story would be a great final exam. Come in, read it, then – based on the stories we read this semester – answer this question in an essay: ‘Is this story a utopian or a dystopian story?’ It’s clear they’ve solved a lot of environmental problems, after some serious setbacks (only 2 million humans left on all of Earth, for example). At the same time, you get the sense that they’ve got it worse than us.”

David and Nowell: “I am fascinated that this was 1984.” “Yeah, it seems 10 years too early.”

David: “It’s so clearly political that sci-fi magazines in the 80s would not have wanted it. That’s why it wasn’t never published in a sci-fi magazine. In some ways it resembles H.G. Wells, writing as a vehicle to get people to understand and become activists.

Huh...?

Nowell: “I like the flaws and self-critique of the main character. The mask and the radio communications, never seeing actual faces or hearing actual voices.”

p. 927, col. 2, “I own a brood of virtual children whom I share with other members of my thought-group.” A great, insidious line.

Not that kind of sharing...David: “The indignant narrator is what makes it work so well. The self-righteous narrator can’t see the things being preached to us. Just as heavy handed as the anti-nuke writing of the golden age. Sci-fi writers have something to learn from this writer.”

Nowell: “It turns on itself well, with good reveals. It’s like a dialectic.”

David: “Yeah, dialectic is a good word for this. But so heavy handed, it’s like a New Yorker piece.”

Suhail: “Another good example of a story of ideas. But at least this one has an engaging, flawed character to keep pace with. So much more effective.”

One smile?!David: “It’s not quite so dry. Telling, not showing; essay format, but nails it.”

Suhail: “It has a character. A narrator with a good conundrum of disdain for the past while still fetishising the past. (she still order boutique ‘Five Cities’ scented air.)”

p. 926, col. 1, “More like bleary with a touch of pleasurable panic,” The Radiohead syndrome. Modern technologized paranoia.

p. 926, col. 2, “They breathed one another’s air, for goodness’ sakes! Recycling all their airborne germs, their waste products, their cast off bronchial ceils, every kind of organic junk.” Contamination anxiety [This came up in The Iron Dream, also.], not just about pollution. People hermetically sealing their lives off from the organic living juices of other life forms; an unhealthy utopian perfection syndrome.

p. 926, col. 2, “The polluted earth itself!” By the end, a nice tidy, obvious, playful, heavy-handed, and mercifully short satire.

The reveal: A depression plague killed them, TJ & Tosc style, and who knows if it’s over. Self-loathing killed them. No trees, no air, no food, and she’s convinced she’s living in a modern utopia (because the propaganda apparatus works so well).

Did I mention the pizza was delicious?Did I mention the pizza was delicious?Did I mention the pizza was delicious?Did I mention the pizza was delicious?

See you August 24th for Kim Stanley Robinson’s latest novel, New York 2140.

Thank you for reading. Reading rules!