Archive for Theodore Sturgeon

Page 17, #18

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , on November 21, 2020 by dcairns

Resisting the slow touch of a frozen finger tracing out my spine, I showed him how that this figure must be a deception of his sense of sight, and how that figures, originating in disease of the delicate nerves that minister to the functions of the eye, were known to have often troubled patients, some of whom had becomes conscious of the nature of their affliction, and had even proved it by experiments upon themselves. ‘As to an imaginary cry,’ said I, ‘do but listen for a moment to the wind in this unnatural valley while we speak so low, and to the wild harp int makes of the telegraph wires.’

Evelyn crouched on the window seat, elbows on the sill, her hands cupped to the curve of her cheeks, their pressure making it easy to smile. Softly, she sang. It was strange to hear for she did not know music; she did not read and had not been told of music. But there were birds, there was the bassoon of wind in the eaves sometimes; there were the calls and cooings of small creatures in that part of the wood which was hers, and, distantly, from that part which was not. Her singing was made of these things, with strange and effortless fluctuations from an instrument unbound by the diatonic scale, freely phrased.

As the last fold was unrolled something hard and loud-sounding bumped out of it and trundled along the nursery floor. All the children scrambled for it, and Cyril got it. He took it to the gas. It was shaped like an egg, very yellow and shiny, half-transparent, and it had an odd sort of light in it that changed as you held it in different ways. It was as though it was an egg with a yolk of pale fire that just showed through the stone.

This was the time of a botanical renaissance, brought about by the classification of plants by the Swede Linnaeus and more especially by the voyage to the South Seas by Sir Joseph Banks and Captain Cook, killed in Hawaii in 1779. Cook carried back to Europe not only fantastic landscapes and images, from the ice world of the Antarctic to the gigantic heads of Easter Island, but a treasury of plants: three thousand species, one thousand of them unknown to botany. The world was alive with news of itself.

Elizabeth Taylor, the last of the old-style Hollywood actresses, has retained her hold on the popular imagination in the two decades since this piece was written, a quality she shares (no thanks to myself) with almost all the public figures in this book – Marilyn Monroe, Reagan, Jackie Kennedy among others. A unique collection of private and public fantasy took place in the 1960s, and may have to wait some years to be repeated, if ever. The public dream of Hollywood for the first time merged with the private imagination of the hyper-stimulated 60s TV viewer. People have sometimes asked me to do a follow-up to The Atrocity Exhibition, but our perception of the famous has changed – I can’t imagine writing about Meryl Streep or Princess Di, and Margaret Thatcher’s undoubted mystery seems to reflect design faults in her own self-constructed persona. One can mechanically spin sexual fantasies around all three, but the imagination soon flags. Unlike Taylor, they radiate no light.

Again, Apollo’s destruction of the Python at Delphi seems to record the Achaeans’ capture of the Cretan Earth-goddess’s shrine; so does his attempted rape of Daphne, whom Hera thereupon metamorphosed into a laurel. This myth has been quoted by Freudian psychologists as symbolizing a girl’s instinctive horror of the sexual act; yet Daphne was anything but a frightened virgin. Her name is a contraction of Daphoene, ‘the bloody one’, the goddess in orgiastic mood, whose priestesses, the Maenads, chewed laurel-leaves as an intoxicant and periodically rushed out at the full moon, assaulting unwary travellers, and tore children or young animals in pieces; laurel contains cyanide of potassium. These Maenad colleges were suppressed by the Hellenes, and only the laurel grove testified to Daphone’s former occupancy of the shrines; the chewing of laurel by anyone except the prophetic Pythian Priestess, whom Apollo retained in his service at Delphi, was tabooed in Greece until Roman times.

Meanwhile, every actor secretly dreads the surprise announcement of “Reload!” as the crews’ eyes roll up and the director’s roll down and their fellow actors’ eyes turn somewhere away. Then they have to get themselves back together to start again or – worse for many actors – pick up where they left off. In particularly emotional scenes, actors often never quite get back to their pre-reload intensity. (Of course, it can be argued that the pressure imposed by a running camera leads to an intensity and concentration that mere rehearsal cannot accomplish, but not many actors would agree with that claim. I’d submit that there’s certainly enough pressure to perform without that added by the celluloid whizzing through the camera.)

Back by unpopular demand (mine)! Seven extracts from seven page seventeens from seven books I’ve randomly picked up. I wasn’t going to do anymore, or I was going to switch to video, but I missed them…

The Signalman, by Charles Dickens, collected in The Penguin Book of English Short Stories; The Phoenix and the Carpet, by E. Nesbit; More Than Human, by Theodore Sturgeon; The Billion Year Spree, by Brian W. Aldiss; The Atrocity Exhibition (introduction), by J.G. Ballard; The Greek Myths: 1, by Robert Graves; Movie Speak: How to Talk like You Belong on a Film Set, by Tony Bill

Everything Else

Posted in FILM, literature, Television with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 17, 2018 by dcairns

“When you think about it, the entire history of literature is nothing more than people coming in and out of doors. Whereas science fiction is about EVERYTHING ELSE.” I went looking for this Ken Campbell quote to see which science fiction author he was quoting in turn, but all I found was John Briggs’ Stranger Than We Can Imagine: Making Sense of the Twentieth Century, which attributes it directly to Campbell. I don’t think that’s right. John Brunner? Brian Aldiss?

My pulpy proclivities saw me reading almost exclusively science fiction as a teenager, but I got off that and onto crime later. Better prose. And into Wodehouse, a genre in himself. But I still have sympathy for the view that science fiction is the true literature of ideas. Lately I’ve been delving into SF anthologies and into David Pringle’s Science Fiction: The 100 Best Novels, in search of mind-bending story ideas in concentrated form, with the idea of later pursuing leads, hunting down the novels of the scribes who impress me most in short form.

I mentioned Connie Willis before, in passing. She’s great – the ideas are certainly there (lots of time travel stuff) but she doesn’t shirk from the human, the emotional. The short story Chance, in The Legend Book of Science Fiction (ed. Gardner Dozois) moved me to tears. I’m not sure it’s really science fiction — more like a Kafkaesque extrusion of fantasy into a realistically-drawn story-world — but it’s just so damn sad. Even the amazingly happy ending is desperately bleak.

As part of my crime reading, I’d tried an Ellery Queen paperback found in a charity shop, The Player on the Other Side, which turned out to be actually written by Theodore Sturgeon, more usually a sci-fi guy. I’d read his excellent More Than Human decades back. He’s one of the best prose writers in genre fiction, so he not only comes up with arresting ideas, but he has the descriptive powers to do them justice. The Other Celia is anthologised a lot  I believe it turned up in one of the Alfred Hitchcock Mystery Magazine anthologies I acquired recently. Sturgeon also wrote two Star Trek episodes, which I mention merely because it seems remarkable now that a sci-fi TV show would seek out practitioners in the field as writers. God knows, the movies didn’t do so very often.

I think Sturgeon defined SF as, “A story with a scientific problem and a human solution.”

Another Star Trek writer, in a way, was my man Fredric Brown, whose story Arena was adapted so we could all enjoy the spectacle of Shatner wrestling with a lizard man. Brown does have a weakness for Federation-like interstellar hegemonies, though in his fiction these are as likely to be militaristic and evil as they are good. I slightly prefer Brown’s crime writing, where the wild ideas stand out as more exceptional, more out-of-place, but the story Come and Go Mad, ending with the line “Nothing matters!” delivered in a kind of lunatic shriek, is just extraordinary. Like Philip K. Dick or Cornell Woolrich, Brown strikes me as a writer continually on the verge of breakdown, which always makes things interesting.

I thought I read some Samuel R. Delany years ago, but it was actually some Clifford Simak — I have no idea why I confused the two, Delany is the better writer, though both are good. Driftglass, in the Dozois anthology again, sets up a fascinating future with surgically altered amphibious humans, only to play out a story that’s kind of Hawksian, only bleaker. “I’m a clumsy cripple, I step all over everybody’s emotions.” The great news is there’s LOTS more Delany for me to catch up on. Another one who writes great sentences.

I read two by Cordwainer Smith (the pseudonym of psychological warfare expert Dr. Paul M.A. Linebarger — his nom de plume encompasses two varieties of shoemaker), Mother Hitton’s Littul Kittons — a story you just HAVE to read, in order to find out what the hell that title is about — but the answer disappointed me — and Scanners Live in Vain, which is rip-roaring space opera with a hellish dystopian angle. Probably an anti-commie tract, but mind-blowing, grim, ridiculous, epic. Most all of Smith’s fiction takes place in a far-future space empire called The Instrumentality, so as world-building it’s of great interest — I admire the obsessiveness.

Robert Silverberg’s The Science Fiction Hall of Fame, Vol 1, 1929-1964 is full of goodies. I was really impressed by the early entries, such as Stanley G. Weinbaum’s A Martian Odyssey, which effortlessly combines Hawksian manly adventure on the red planet with a curiosity and sense of mystery about alien intelligence and culture.  The astronauts we meet are of various nations, but all male — the genre of thinking forward wasn’t always forward-thinking. But they’re such affable fellows! And it was 1929. The patriarchal view seems less defensible in the fifties stuff, but I found I liked the one John W. Campbell story I read better than I expected to. Campbell, of course, wrote Who Goes There?, the one SF story to actually attract Howard Hawks as co-adaptor, resulting in THE THING FROM ANOTHER WORLD. Twilight has poetry to it, as well as an epic space-time scale, as well as a tall-tale/urban legend framing structure, with the yarn related by a mysterious hitch-hiker, that adds a strange resonance.

“Jim claims he doesn’t believe the yarn, you know. But he does; that’s why he always acts so determined about it when he says the stranger wasn’t an ordinary man. No, he wasn’t, I guess. I think he lived and died, too, probably sometime in the thirty-first century. And I think he saw the twilight of the race, too.”

The best character in Anthony Boucher’s The Quest for Saint Aquin is a talking robot ass. This one is a kind of post-atomic pastorale, a popular sub-genre, with the church driven underground by a fascist technocracy. Religious science fiction is a distinct sub-genre too, I guess: this has certain traits in common with John Wyndham’s The Chrysalids (a favourite) and Walter Miller’s A Canticle for Leibowitz. I relate more to Wyndham, where the faith is an oppressive force.

Damon Knight’s The Country of the Kind — I had read this before, or maybe only part of it? (Who the hell gives up on a short story?) It’s excellent, if unlikely. I seem to confuse Damon Knight with Thomas Disch, whose Camp Concentration is a piece of terrific. The finale of Knight’s tale of a shunned psychopath somehow makes a call to random violence seem both inspirational and touching — it’s not seductive, it doesn’t make you want to be violent or suggest that the author is in favour of such things — it just shows you how, from a different perspective, such emotions could attach themselves where you wouldn’t think they belonged. Paradigms explode. Your mind is expanded, the way it ought to be by good SF.

Knight also wrote To Serve Man, famously adapted by Rod Serling’s The Twilight Zone. The head-spinning paradigm shift in its purest form.

I have too many authors to choose from now, but nevertheless, hit my with your recommendations.