In case you're confused, here's the chronology thus far:
- Raft of Conquistadors
- Pink Gneiss **
- Heart of Tashyas
- White Rainbow, Brown Devil
- I Am Become Death, Destroyer of Worlds
* Not actually tasteful or historically accurate.
** Coming soon!
Wednesday, November 7, 2018
"Raft of Conquistadors" at Heroic Fantasy Quarterly
My latest Carvajal story, "Raft of Conquistadors," is live at Heroic Fantasy Quarterly. It takes place on Padre Island at an unspecified time before "Heart of Tashyas" and is a tasteful and historically accurate* account of the ill-fated Narváez expedition featuring ancient aliens and semiaquatic slug men.
In case you're confused, here's the chronology thus far:
* Not actually tasteful or historically accurate.
** Coming soon!
In case you're confused, here's the chronology thus far:
* Not actually tasteful or historically accurate.
** Coming soon!
Tuesday, August 28, 2018
Poison and Cigarette Butts
When I paint, I begin with a vision of a thing to be represented, but I find, as I really get down to business, that I take the picture as a plane surface covered with pigment. My task, as a painter, is to make as beautiful a carpet of color and form as my skill permits. Forms from the natural world are admitted and retained, just as colors are, but both, and the ideas that inspired the painting in the first place, are subordinate to the unity of the final product.
I have something of the same approach to writing stories. Whatever material elements may go into it, in the end I'm just trying to make an interesting pattern with the things I have at my disposal. Sometimes the things I have at my disposal are ugly, like Jackson Pollock's cigarette butts; sometimes they're poisonous, like the arsenic-containing emerald green used by Van Gogh. Well, you're not supposed to eat a painting, are you? Something similar might be said of a story.
I never set out to make a point in a story. That's not to say the things I think about and argue about don't find their way in there. It's just that they're like Jackson's cigarette butts. I do think the pursuit of truth important. I just don't care to do it in stories. Sometimes I even find it fun to seem to make a case for the opposite of what I believe to be the truth. That bugs people these days, because they want to know where you stand on all the important issues before they decide to like your work. I guess that's only natural, what with the Internet being overrun by pitchfork-waving mobs of one stripe or another. But it's also terribly boring.
Being an autistic Puerto Rican Greek mathematician in small-town borderland Texas, I have a skewed view of things. At least, I'm led to conclude so when I have conversations with other people. I'm like one of those strange side characters in Dostoevsky, like Ippolit in The Idiot, or Kirillov in The Possessed. My view comes out in weird and (to me) unpredictable ways.
For a few years I've thinking about how "magical multiracial" fantasy (with elves and dwarves or whatever) reflects, distorts, or falsifies race issues in the real world. I mean, that type of fiction is read mainly by white people in the anglosphere, right? At its most commercial-generic, it represents a society consisting of discrete categories of beings that coexist without mixing, which reminds me of those modern celebrations of "diversity" that often amount to a kind of segregation.
The magical multirace paradigm was set by Tolkien, although Tolkien, to be fair, got it at least partially from the Poetic Edda and such things. There are various human races in Tolkien, such as the Easterlings and the Haradrim. Aside from Sam's musings, though, they're painted in broad strokes as scarcely-human hordes. There's much talk, too, of greater men intermarrying with lesser men, to the detriment of the former. Does Tolkien, within his own universe, think it a bad thing for higher races to mix with lower races? Given what he says elsewhere about the "sin" of the elves and the role of the hobbits, I'd be inclined to say that his view was nuanced, at the very least. Still, there's a lot to be looked into there, such as the fact that Tolkien came originally from South Africa, and that The Lord of the Rings was conceived and written during the first half of the twentieth century, when a lot of ugly ideas about race were coming to a head all over the world, not just in Germany.
I've mused a bit about half-breeds in fantasy literature, and half-breeds certainly figure in Tolkien, to an extent not often approached by writers of the commercial-generic fantasy that capitalizes on his work. He has mixtures of human races, such as the men and hobbits of Bree, but also, more memorably, mixtures of human and non-human races, such as the progeny of Beren and Luthien. Philosophically, those are a little different, as Tolkien makes it clear in his letters that the elves are not a distinct biological species, differing from men only in their spiritual constitution. It's interesting that such half-breeds are allowed to choose which race they'll belong to, a choice sadly denied to human half-breeds, who must inhabit both worlds, and therefore neither. The ill-favored squint-eyed Southerner at Bree, who appears to be part human, part orc, is not treated so sympathetically, and we are not told that he got a choice like Elrond Halfelven's. Actually, the way he's described reminds me of the descriptions of mulattoes and "Asiatic" half-breeds in some of G. K. Chesterton's more offensively racist stories, and I think a case could be made that Tolkien and the writers who came after him were merely transplanting those old fears of half-breeds into less overtly racist soil.
That said, it's only by being great writers that Tolkien and Chesterton have the capacity to offend. The most your standard commercial-generic writer can aspire to is to be slightly irritating. And I do find discrete categorizations of races, magical or otherwise, to be slightly irritating. You don't just see it in fantasy. You see it whenever members of "other" races are given character traits stemming from race alone, offset, in cleverer works, by superficial differences.
In reaction to one of my Carvajal stories, a psychologist friend of mine, whose professional interests include evolutionary psychology, explained that, according to theory, it's natural (in the evolutionary sense) to have a mistrust of half-breeds, because it's unknown to whose tribe their loyalties belong. To that my reply was: perhaps it's natural or justifiable, perhaps not, but, as far as my story is concerned, I don't really care, because I'm not trying to make a point. My friend was trying to understand what I was getting at, but the truth is that I wasn't getting at anything at all. I was just making a pattern with things I've picked up here and there.
Religion makes an appearance in those Carvajal stories, too, though I'm not certain that the faith of Hispania corresponds to real-world Catholicism. Carvajal is, at any rate, an archetypal Bad Catholic, praying on the fishbone rosary mentioned somewhere by St. John of the Cross while doing his best to be a conquistador. Because I am myself Catholic, a faith it's increasingly hard to be proud of these days, I like to render the religion of the various tribes he encounters sympathetically, while I render his religion as worthy of contempt, incomprehension, or terror. The red demon-god at the end of "White Rainbow and Brown Devil" is based on the seraph that gave St. Francis of Assisi the stigmata, and the institutional church appears as a literary cigarette butt in one of my forthcoming stories. But, again, I'm not really making a point. I'm just letting things come in where they want to.
My professional and artistic and personal lives are beginning to converge in ways that I wouldn't have expected several years ago, and I feel the need to emphasize that my fiction really is art, that is, a set of patterns I've formed so as to make pleasing units, and not, say, a coded manifesto. That's not to say that my deeply-held beliefs and opinions wouldn't be offensive or incomprehensible to some of the people who might be interested in them. They're just not to be found in my stories or my rambling, contrarian blog posts.
That said, get ready for "Raft of Conquistadors," coming out in the November issue of Heroic Fantasy Quarterly!
I never set out to make a point in a story. That's not to say the things I think about and argue about don't find their way in there. It's just that they're like Jackson's cigarette butts. I do think the pursuit of truth important. I just don't care to do it in stories. Sometimes I even find it fun to seem to make a case for the opposite of what I believe to be the truth. That bugs people these days, because they want to know where you stand on all the important issues before they decide to like your work. I guess that's only natural, what with the Internet being overrun by pitchfork-waving mobs of one stripe or another. But it's also terribly boring.
Being an autistic Puerto Rican Greek mathematician in small-town borderland Texas, I have a skewed view of things. At least, I'm led to conclude so when I have conversations with other people. I'm like one of those strange side characters in Dostoevsky, like Ippolit in The Idiot, or Kirillov in The Possessed. My view comes out in weird and (to me) unpredictable ways.
*
For a few years I've thinking about how "magical multiracial" fantasy (with elves and dwarves or whatever) reflects, distorts, or falsifies race issues in the real world. I mean, that type of fiction is read mainly by white people in the anglosphere, right? At its most commercial-generic, it represents a society consisting of discrete categories of beings that coexist without mixing, which reminds me of those modern celebrations of "diversity" that often amount to a kind of segregation.
The magical multirace paradigm was set by Tolkien, although Tolkien, to be fair, got it at least partially from the Poetic Edda and such things. There are various human races in Tolkien, such as the Easterlings and the Haradrim. Aside from Sam's musings, though, they're painted in broad strokes as scarcely-human hordes. There's much talk, too, of greater men intermarrying with lesser men, to the detriment of the former. Does Tolkien, within his own universe, think it a bad thing for higher races to mix with lower races? Given what he says elsewhere about the "sin" of the elves and the role of the hobbits, I'd be inclined to say that his view was nuanced, at the very least. Still, there's a lot to be looked into there, such as the fact that Tolkien came originally from South Africa, and that The Lord of the Rings was conceived and written during the first half of the twentieth century, when a lot of ugly ideas about race were coming to a head all over the world, not just in Germany.
I've mused a bit about half-breeds in fantasy literature, and half-breeds certainly figure in Tolkien, to an extent not often approached by writers of the commercial-generic fantasy that capitalizes on his work. He has mixtures of human races, such as the men and hobbits of Bree, but also, more memorably, mixtures of human and non-human races, such as the progeny of Beren and Luthien. Philosophically, those are a little different, as Tolkien makes it clear in his letters that the elves are not a distinct biological species, differing from men only in their spiritual constitution. It's interesting that such half-breeds are allowed to choose which race they'll belong to, a choice sadly denied to human half-breeds, who must inhabit both worlds, and therefore neither. The ill-favored squint-eyed Southerner at Bree, who appears to be part human, part orc, is not treated so sympathetically, and we are not told that he got a choice like Elrond Halfelven's. Actually, the way he's described reminds me of the descriptions of mulattoes and "Asiatic" half-breeds in some of G. K. Chesterton's more offensively racist stories, and I think a case could be made that Tolkien and the writers who came after him were merely transplanting those old fears of half-breeds into less overtly racist soil.
That said, it's only by being great writers that Tolkien and Chesterton have the capacity to offend. The most your standard commercial-generic writer can aspire to is to be slightly irritating. And I do find discrete categorizations of races, magical or otherwise, to be slightly irritating. You don't just see it in fantasy. You see it whenever members of "other" races are given character traits stemming from race alone, offset, in cleverer works, by superficial differences.
 |
| Scene from John Carpenter's Assault on Precinct 13, which I think is a sly reference to what I'm talking about. (Is that Cuervo Jones at the wheel???) |
Religion makes an appearance in those Carvajal stories, too, though I'm not certain that the faith of Hispania corresponds to real-world Catholicism. Carvajal is, at any rate, an archetypal Bad Catholic, praying on the fishbone rosary mentioned somewhere by St. John of the Cross while doing his best to be a conquistador. Because I am myself Catholic, a faith it's increasingly hard to be proud of these days, I like to render the religion of the various tribes he encounters sympathetically, while I render his religion as worthy of contempt, incomprehension, or terror. The red demon-god at the end of "White Rainbow and Brown Devil" is based on the seraph that gave St. Francis of Assisi the stigmata, and the institutional church appears as a literary cigarette butt in one of my forthcoming stories. But, again, I'm not really making a point. I'm just letting things come in where they want to.
*
My professional and artistic and personal lives are beginning to converge in ways that I wouldn't have expected several years ago, and I feel the need to emphasize that my fiction really is art, that is, a set of patterns I've formed so as to make pleasing units, and not, say, a coded manifesto. That's not to say that my deeply-held beliefs and opinions wouldn't be offensive or incomprehensible to some of the people who might be interested in them. They're just not to be found in my stories or my rambling, contrarian blog posts.
That said, get ready for "Raft of Conquistadors," coming out in the November issue of Heroic Fantasy Quarterly!
Friday, July 20, 2018
Carload of Conquistadors
Life beyond art has become a perfect s**tstorm of late, which has left me some time and energy for said art, but none, alas, for blogging.
Just to give a fairly innocuous example, I took the fam on a two-week camping trip in June, only to collide with a majestic leaping bull elk in a national park, totaling our beloved Ordoñezmobile and leaving us (me, my wife, our three kids) stranded, first on the side of a mountain (with all our gear, the subjects of intense scrutiny by park police), then in a campsite, for days, with no way to get more food (fortunately we'd just stocked up), no rental car being available due to a massive hailstorm having struck the region, with black bears literally snuffling around our tents at night and leaving muddy paw prints on top of our bear box in the morning, in which we had thankfully thought to enclose our three-year-old's carseat, which is undoubtedly the most smellable thing we own, after all of which we were granted, not a minivan or an SUV as we had been promised by our insurance company, but, ironically, an Impala (another leaping ungulate!) in which we were amazingly able to fit our gear and dependents (as the Egyptians fit their blocks of stone into the pyramids) although we had to bestow our faithful roofbag upon a chance-met traveler at a hotel.
Of course we continued our trip after securing our distant rental car through a devious use of shuttle buses and a laconic and somewhat unreliable taxi driver, because we Ordoñeces aren't quitters, although we were put to the test when we discovered a subsequent campsite, which we'd reserved months before, to have been inundated by a flash flood which had deposited a smooth, foot-deep sheet of white badlands silt, out of which the picnic table rose like something from The Drowned World, which, in another dose of irony, I happened to be reading at the time; then, to take another page from The Drowned World, we arrived back at our home in south Texas, which this summer is like the point of heat focused by a magnifying lens, only to find our air conditioner broken.
And that was my vacation.
I am nevertheless happy to report that the newest installment in the Tashyas saga will grace the e-pages of Heroic Fantasy Quarterly this fall, in my story "Raft of Conquistadors," which relates the first fateful landfall of Francisco Carvajal y Lopez in what's now the Lone Star State. The action takes place on Padre Island, the bleak and strangely remote barrier island that has kept south Texas, from Corpus Christi to Brownsville, sparsely inhabited for generations. The story will be illustrated by me.
Although it may be of interest to no one but myself, these stories excite me because they let me evoke all the varied landscapes and climates that "Tashyas" has to offer; I've been making somewhat frequent trips to the Corpus Christi area since I was a little kid, when my dad would take me on collecting expeditions for his marine biology class. Right now I'm working on a Carvajal story set in central Texas, set in the vicinity of...no, I won't say it.
This summer I've also been working on the cover painting for Ark of the Hexaemeron, which is still in the process of being written, but which will, when complete, be the first heroic fantasy epic that I know of to feature three-dimensional manifold topology (sorry). I haven't done much else in the way of illustration or art-for-art's-sake lately, but I have been doing some mathematical sculptures for a little museum I've created at my college, inspired by the beautiful models and displays math departments used to curate around the year 1900, e.g., here and here.
Here, for instance, is the "dodecahedron family," printed on my 3D printer and subsequently painted:
Going from left to right, top to bottom, we have: the icosahedron, the dual icosahedron / dodecahedron, the triacontahedron (the convex hull of the dual pair, colored as the compound of five cubes), the dodecahedron, the icosidodecahedron (the quasiregular solid associated with the dual pair), the right-handed compound of five tetrahedra (colored as the triacontahedron), the compound of five cubes, and the skeletal compound of five tetrahedra.
While painting these I listened to Ride the Pink Horse by Dorothy B. Hughes, an excellent noir set in a New Mexico town modeled partly on Santa Fe.
I have also been experimenting with paper-folding techniques. What especially interest me are the algebraic aspects; theoretically, origami is quite similar to the compass-and-straightedge constructions you did in high school. I've been doing origami for a long time, having been introduced to it as a kid by a Japanese friend of the family, though I don't pretend to be proficient. Just recently, though, I've discovered "kusudama" (a term that gets thrown around rather loosely) or modular origami.
Here, for instance, is the compound of five tetrahedra, assembled, without glue, from 10 sheets of square origami paper cut into thirty 1:3 rectangles, using the instructions found here.
Blogging will continue to be light, but I'll probably soon post some thoughts about the things I've been reading and watching.
Just to give a fairly innocuous example, I took the fam on a two-week camping trip in June, only to collide with a majestic leaping bull elk in a national park, totaling our beloved Ordoñezmobile and leaving us (me, my wife, our three kids) stranded, first on the side of a mountain (with all our gear, the subjects of intense scrutiny by park police), then in a campsite, for days, with no way to get more food (fortunately we'd just stocked up), no rental car being available due to a massive hailstorm having struck the region, with black bears literally snuffling around our tents at night and leaving muddy paw prints on top of our bear box in the morning, in which we had thankfully thought to enclose our three-year-old's carseat, which is undoubtedly the most smellable thing we own, after all of which we were granted, not a minivan or an SUV as we had been promised by our insurance company, but, ironically, an Impala (another leaping ungulate!) in which we were amazingly able to fit our gear and dependents (as the Egyptians fit their blocks of stone into the pyramids) although we had to bestow our faithful roofbag upon a chance-met traveler at a hotel.
Of course we continued our trip after securing our distant rental car through a devious use of shuttle buses and a laconic and somewhat unreliable taxi driver, because we Ordoñeces aren't quitters, although we were put to the test when we discovered a subsequent campsite, which we'd reserved months before, to have been inundated by a flash flood which had deposited a smooth, foot-deep sheet of white badlands silt, out of which the picnic table rose like something from The Drowned World, which, in another dose of irony, I happened to be reading at the time; then, to take another page from The Drowned World, we arrived back at our home in south Texas, which this summer is like the point of heat focused by a magnifying lens, only to find our air conditioner broken.
And that was my vacation.
I am nevertheless happy to report that the newest installment in the Tashyas saga will grace the e-pages of Heroic Fantasy Quarterly this fall, in my story "Raft of Conquistadors," which relates the first fateful landfall of Francisco Carvajal y Lopez in what's now the Lone Star State. The action takes place on Padre Island, the bleak and strangely remote barrier island that has kept south Texas, from Corpus Christi to Brownsville, sparsely inhabited for generations. The story will be illustrated by me.
Although it may be of interest to no one but myself, these stories excite me because they let me evoke all the varied landscapes and climates that "Tashyas" has to offer; I've been making somewhat frequent trips to the Corpus Christi area since I was a little kid, when my dad would take me on collecting expeditions for his marine biology class. Right now I'm working on a Carvajal story set in central Texas, set in the vicinity of...no, I won't say it.
This summer I've also been working on the cover painting for Ark of the Hexaemeron, which is still in the process of being written, but which will, when complete, be the first heroic fantasy epic that I know of to feature three-dimensional manifold topology (sorry). I haven't done much else in the way of illustration or art-for-art's-sake lately, but I have been doing some mathematical sculptures for a little museum I've created at my college, inspired by the beautiful models and displays math departments used to curate around the year 1900, e.g., here and here.
Here, for instance, is the "dodecahedron family," printed on my 3D printer and subsequently painted:
Going from left to right, top to bottom, we have: the icosahedron, the dual icosahedron / dodecahedron, the triacontahedron (the convex hull of the dual pair, colored as the compound of five cubes), the dodecahedron, the icosidodecahedron (the quasiregular solid associated with the dual pair), the right-handed compound of five tetrahedra (colored as the triacontahedron), the compound of five cubes, and the skeletal compound of five tetrahedra.
While painting these I listened to Ride the Pink Horse by Dorothy B. Hughes, an excellent noir set in a New Mexico town modeled partly on Santa Fe.
I have also been experimenting with paper-folding techniques. What especially interest me are the algebraic aspects; theoretically, origami is quite similar to the compass-and-straightedge constructions you did in high school. I've been doing origami for a long time, having been introduced to it as a kid by a Japanese friend of the family, though I don't pretend to be proficient. Just recently, though, I've discovered "kusudama" (a term that gets thrown around rather loosely) or modular origami.
Here, for instance, is the compound of five tetrahedra, assembled, without glue, from 10 sheets of square origami paper cut into thirty 1:3 rectangles, using the instructions found here.
Each strut is one 1:3 rectangle; three struts fit into one another at each point.
The five tetrahedra are not connected to one another in any way. The tricky part was getting them to intersect correctly while connecting the struts at the vertices.
There are some books on modular origami out there; the best I've found are by Ekaterina Lukasheva, who apparently has a math background. Here's one I've made according to her instructions:
It's assembled from 15 square sheets of origami paper cut into two 1:2 rectangles
apiece. The 30 rectangles are
all folded in exactly the same way and attached to one another without
glue. The patterns are chosen according to the compound of five cubes,
with six rectangles of each pattern, and one pattern for each of the
five cubes. In the end, the piece is roughly the same as a triacontahedron.
Monday, April 30, 2018
Ash Indomitable
In other words, I just finished Season 3 of Ash vs Evil Dead, which concludes with – I tell you, you wouldn't even believe it! only to find that the show has been cancelled, and that Bruce Campbell has decided to hang up his boomstick…forever.
So here I sit, all alone, while the rest of the world eagerly debates post-credits scenes and wonders what Robert Downey Jr. and Friends will do with their next billion dollars in the search for Infinity Whatsits, and possibly the most glorious slingshot ending in the history of humanity remains a tantalizing, unanswered what-if.
I mean, geez, the show was scary, gory, disgusting, offensive, hilarious – everything a decent show should be – but, on top of all of that, it was kind of inspiring in a weird way, and even – dare I say it? – touching. In that face-meltingly awesome final episode, Ash, the lovable idiot feared by hordes of evil demons, actually…grows a little bit. I don't know. Maybe, in the divine scheme of things, that meant it really was the End. And that's to say nothing of the fact that he actually gave up his own life, descended to hell, released souls from bondage, and ascended on high to sit on his own throne as the "prophesized" savior of humanity. Where do you go from epic closure in the mythos of summer? Narratively speaking, I mean.
Oh, who am I kidding? There are plenty of places to go from there, and the world is a lesser place because we don't get to see them.
Well, at least we can say this. We got fifteen hours of unadulterated awesomeness that the world simply did not deserve. Plus, the show was made by people who care about their fans, and they made sure to bring the story to an emotionally satisfying if sadly truncated conclusion. Maybe in the long run it will be better this way. Maybe I'll find my way into that alternate timeline where Evil Dead Beyond Thunderdome: Ash vs the Army of Dark Ones is a thing. For now, though, I'm just a little sad to see El Jefe ride off into the sunset, and to bid Pablo and Kelly a fond farewell. (Although, to do them justice, "Pablo" and "Kelly" are having none of it.)
I'll always remember you, Ash. Not for what you were, but for what you've become. You've completed your journey from zero to hero. You've become a king by your own hand. And you know what? If, at this point in my life, I do get back up, and continue to fight for what's right no matter what crazy s**t may happen to me, and go on living as though I have a destiny to fulfill even though 100% of the world around me thinks I'm an idiot, it will, in some part, be thanks to Ash vs Evil Dead. Crazy, isn't it?
Hail to the King, Baby.
 |
| Yes, that's a tank. We live in a world in which a show about Ash battling giant demons with a tank wasn't renewed. |
Thursday, April 19, 2018
The Neverending Story
I recently read the book to my kids. I'd forgotten what a mind-bending piece of meta it is. We read it as originally published, with the page-size capital letters at the beginnings of the chapters (from A for Chapter 1 to Z for Chapter 26) and the dual colors of ink (red and green) to help you navigate between metafictional modes. I'm not exactly sure what Ende was getting at with all those layers of self-reference, so here's where you get to see me puzzle that out.
If you haven't read The Neverending Story, watch out, because I'm about to spoil it all, though I don't think it's really the kind of book that gets spoiled by your knowing the plot ahead of time.
Bastian, a doughy, wimpy schoolboy with a deceased mother and an emotionally frigid father, steals a strange book from an enigmatic dealer, and holes up with it in the schoolhouse attic. In it reads the adventures of Atreyu the Greenskin, the chosen savior of Fantastica, which is being devoured by the Nothing while the Childlike Empress languishes from a mysterious illness. (Unlike in the movie, the Nothing literally looks like nothing, as though you'd gone blind.) (The clouds in the movie look pretty cool, though.) The Empress, it seems, must be given a new name by a human, but humans have stopped coming to Fantastica. We gradually learn that the purpose of Atreyu's quest and all his sufferings are solely to get Bastian, the human reader, interested in the book. At the Magic Mirror Gate, it's revealed that Bastian and Atreyu are, in some sense, the same person.
Bastian, in his reluctance to say the (slightly goofy) name he's thought up, forces the Childlike Empress to go to the Old Man of Wandering Mountain and have the story told again from the beginning, within the story itself. Here (and elsewhere) I catch just a hint of both Nietzsche (the eternal return) and – just maybe! – The Worm Ouroboros. AURYN, the talisman borne by Atreyu and the symbol of the book as a whole, consists of two snakes biting one another's tails…
Once Bastian says the name (I'll let you read the book to find out what it is), he finds himself in Fantastica. In 100% green ink now, he cuts an impetuous and increasingly disturbing swath across a succession of bizarre landscapes in an adventure that reminds me a bit of A Voyage to Arcturus. The one command laid upon him is DO WHAT YOU WISH, which seems great at first. But it turns out that each wish costs him a memory. He starts to become insufferable as he forgets what he once was.
What everyone tells him, though, is that he has to go right through Fantastica, making whatever wishes come to him and following wherever they lead. Whenever he stops wishing, he starts going in circles. He tries to make himself emperor (no one can see the Childlike Empress twice), which doesn't go too well, and almost results in his becoming the demented resident of a city of mad would-be emperors superintended by a creepy monkey. Eventually the wishes divest him of everything – his very last memories – and leave him an empty shell.
The strange thing about The Neverending Story is that, despite its having more layers than a premium nacho plate, it's enjoyable as a story in its own right. The world of Fantastica is convincingly portrayed, and Ende's powers of invention are seemingly inexhaustible. One of the main pleasures in reading the book is experiencing all the surprising and beautiful things he comes up with. The story ends with…well, with something heartwarming and sentimental. I won't knock it, but if that were the point of the novel then it wouldn't have the power it has.
To me a lot of it seems to be a parable about storytelling. Bastian is the one person in Fantastica who can tell stories. The stories he tells come true as the tells them, but there are always unintended consequences: dragons that cause suffering, clown-butterflies who vandalize. What's more, Bastian's path of wishes and growing lack of self-knowledge make him less and less capable of telling stories at all.
The Childlike Empress is portrayed as indifferent to good and evil, but her mandate, to go on wishing, while not exactly "good," is fitting, appropriate, right. It's what Bastian's got to do. Similarly, telling a story is a spiritually draining process, but the teller must go where it leads. If it's worth telling it's got a certain logic that has to be obeyed. In her indifference, I think the Empress is merely Story personified. Morality for the characters in a story is one thing; the "morality" of the storyteller (which is neither more nor less than the virtue of good craftsmanship) is another. Someone I follow online recently said something to the effect of, what kind of person takes pleasure in the misery inflected upon a character by a cruel author? I suppose it's possible to get a sadistic thrill in reading a novel, but for me it's really more the pleasure of seeing a pattern fall into place.
As I said, telling a story is a spiritually draining process. Literally, perhaps: it sucks something out of you. It's also fraught with peril. In setting yourself up as the emperor of your (invented) world, you may find yourself doing violence to your own conceits and being relegated at last to the city of demented might-have-beens.
But maybe I'm just saying all that because I've been going in circles myself lately…
Wednesday, February 28, 2018
Reviews, Local Fame, Cosmogony, Crime, Etc.
Charles Payseur of Quick Sips Reviews fame has reviewed Heroic Fantasy Quarterly Issue 35, and appears to have enjoyed "White Rainbow and Brown Devil." There's no better feeling than knowing that you wrote something that gave someone pleasure, so, thanks, Charles!
On the other hand, there's no worse feeling than knowing that you wrote something that brought someone nothing but annoyance and impatience, so I won't link the other review I've gotten so far.
I haven't been posting here much lately, have I? That's partly because I got a monthly column (about STEM matters) in the local paper, and the samples for my pitch and the first installment have sucked up most of my light nonfiction-writing energy. But now I'm so famous that people tell me all over town that they enjoy my writing, so it's definitely worth it. This month I wrote about honeybees and melon-stacking. The next installment will be about the tesseract, because a movie based on a certain book is coming out in March and will undoubtedly be showing in the local theater. I have small hopes for the movie, alas.
I have revised the Eladogran Cosmogony a bit, bringing my translation more in line with the original texts. You can now find it under the Library of Enoch tab at the top of the page.
I've been reading quite a bit of crime fiction from the forties and fifties lately, mostly thanks to a Library of America collection I checked out at the library. I'm also still working through the correspondence of Flannery O'Connor and The History of the Conquest of Mexico and a few books about four-dimensional geometry. I recently read and greatly enjoyed several volumes of Hellboycomics graphic novels. I got into these through the excellent Guillermo del Toro movies. A big red devil with sawed-off horns battling Nazis, Rasputin, and evil gods out of H. P. Lovecraft: what's not to love? The art is wonderfully expressive and minimalistic; I find that I'm not a big fan of the hyper-realistic, cinematic presentation of superhero comics these days.
All matters that might get turned into full-fledged posts at some point, if I feel like it...
ADDED: And here's an appreciative review of "White Rainbow and Brown Devil" by Fletcher Vredenburgh. Thanks, Fletcher!
On the other hand, there's no worse feeling than knowing that you wrote something that brought someone nothing but annoyance and impatience, so I won't link the other review I've gotten so far.
I haven't been posting here much lately, have I? That's partly because I got a monthly column (about STEM matters) in the local paper, and the samples for my pitch and the first installment have sucked up most of my light nonfiction-writing energy. But now I'm so famous that people tell me all over town that they enjoy my writing, so it's definitely worth it. This month I wrote about honeybees and melon-stacking. The next installment will be about the tesseract, because a movie based on a certain book is coming out in March and will undoubtedly be showing in the local theater. I have small hopes for the movie, alas.
I have revised the Eladogran Cosmogony a bit, bringing my translation more in line with the original texts. You can now find it under the Library of Enoch tab at the top of the page.
I've been reading quite a bit of crime fiction from the forties and fifties lately, mostly thanks to a Library of America collection I checked out at the library. I'm also still working through the correspondence of Flannery O'Connor and The History of the Conquest of Mexico and a few books about four-dimensional geometry. I recently read and greatly enjoyed several volumes of Hellboy
All matters that might get turned into full-fledged posts at some point, if I feel like it...
ADDED: And here's an appreciative review of "White Rainbow and Brown Devil" by Fletcher Vredenburgh. Thanks, Fletcher!
Monday, February 5, 2018
"White Rainbow and Brown Devil" at HFQ
"White Rainbow and Brown Devil" takes place in a geographically telescoped version of what's now Val Verde County, following the Rio Grande and the route of U.S. 90, from Sycamore Creek in the east, past San Felipe Springs, across the Devil's River, and through Seminole Canyon, to the Pecos River in the west. As my bio states, I'm a circuit-riding professor; this is one of the circuits I ride. (In a pick-up truck, not a horse.) Past Del Rio, the country is desolate, torturously prickly, beautiful, and slightly sinister, with ruined stone buildings here and there, and abandoned bridges from the old highway paralleling the modern one. The bed of the Devil's River is under the Amistad Reservoir now; one wonders what other dark secrets those placid waters hide.
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| Fate Bell Shelter, Seminole Canyon |
Other items of note appearing in HFQ Issue 35 include stories "That Sleep of Death" by Mary-Jean Harris and "Things of Shreds and Patches" by Norman Doeg, and poems "Washer at the Ford" by James Byers and "Dragon Mountain" by Mary Soon Lee. The issue also contains HFQ's first foray into audio, with the poem "Fire Lover" written and narrated by Karen Bovenmeyer, who also narrates for the horror podcast Pseudopod. Please go check it out!
The picture that accompanies my own story is an original watercolor. You can read about it here.
Monday, January 29, 2018
The Four-Dimensional Lord of Dance
I wrote two posts last year dealing with the fourth dimension:
The focus was mathematical, but along the way I looked at how the fourth (spacial) dimension appears in the works of authors like H. P. Lovecraft, Robert Heinlein, H. G. Wells, Jorge Luis Borges, and, most memorably, Madeleine L'Engle, whose A Wrinkle in Time is about to appear as an uninspired-looking Disney movie in March (sigh). I also talked about mathematical visionaries and mystics like Paul S. Donchian and Charles Howard Hinton, both of whom made real contributions to the field, if only in the sense that they developed and humanized what the academics were saying in their inaccessible research articles, and both of whom might be labeled as cranks or crackpots.
Since then I've done a little research on Hinton, Donchian, et al., and have found a number of other links between the idea of a fourth spacial dimension and various forms of spirituality or mysticism. For instance, the German astronomer Friedrich Zöllner (1834 – 1882) apparently tried to use the fourth dimension explain Spiritualist phenomena. In his eagerness, he was imposed upon by the medium Henry Slade in experiments that have since been debunked. Fantasy and horror authors in their turn used the claims of Spiritualism in their stories; some, like Arthur Machen and Algernon Blackwood, actually subscribed to its views. Hinton, who wrote a number of "scientific romances" himself, was a post-Christian altruist who speculated that spiritual agencies might work by means of the fourth dimension and believed in something like eternal return.
Some Christians of the late Victorian era, disconcerted by the advance of materialism, attempted to colonize the fourth dimension themselves. For other Christians, such as the liberal theologian Edwin Abbott Abbott (author of Flatland: A Romance of Many Dimensions, a book much admired by Hinton), higher spacial dimensions were merely a metaphor for gradual way in which the human mind must approach divine truths.
Salvador Dalí appears to have used the fourth dimension in a similar way, in his famous 1954 painting Crucifixion (Corpus Hypercubus), which portrays Christ crucified on the net of a tesseract / hypercube / 8-cell (Schläfli symbol {4,3,3}) hovering over a square grid (Schläfli symbol {4,4}), illustrating the incomprehensibility of God to man.
I have in my hands a Dover edition of Speculations on the Fourth Dimension: Selected Writings of Charles H. Hinton, which includes several of Hinton's scientific romances. It's edited and has an excellent introduction by Rudolph v.B. Rucker, also known as Rudy Rucker, author of the Ware Tetralogy and a modern tribute to Flatland and all-around sci-fi author of note. So no doubt I'll soon be posting about all of this yet again.
My post on four-dimensional arts and crafts includes an account of my building the sections and net of a 120-cell. More recently, I've printed and built the sections and net of a 24-cell, which is a regular four-dimensional polytope built from twenty-four octahedra.
The sections proceed as follows, with colors given as the craft paints I bought at Wal-Mart: (I) the octahedral cell at the "south pole" (Parchment); (II) the truncated octahedral section cut by a hyperplane through the midpoints of the edges "above" the south pole (Parchment and Real Brown); (III) the cuboctahedral equatorial section cut by a hyperplane through the set of vertices to which these edges connect (Look At Me Blue and Real Brown); (IV) the truncated octahedral section analogous to Section II but in the "northern hemisphere" (Look At Me Blue and Real Brown); and (V) the octahedral cell at the "north pole" (Coffee Latte).
The net has the "south pole" at the center and the "north pole" at the base. For reasons fully known only to my subconscious, but partly inspired by Dalí's painting above, I decided to model it after traditional depictions of the Hindu god Shiva as Nataraja or Lord of Dance, with three-fold rotational symmetry.
Shiva is the destroyer, and his dance is the cosmic dance of creation / destruction. That puts me in mind of the line from the Bhagavad Gita, uttered by Krishna, quoted by Robert Oppenheimer, and used by me in the title of a short story: "Now I am become Death, destroyer of worlds."
Since then I've done a little research on Hinton, Donchian, et al., and have found a number of other links between the idea of a fourth spacial dimension and various forms of spirituality or mysticism. For instance, the German astronomer Friedrich Zöllner (1834 – 1882) apparently tried to use the fourth dimension explain Spiritualist phenomena. In his eagerness, he was imposed upon by the medium Henry Slade in experiments that have since been debunked. Fantasy and horror authors in their turn used the claims of Spiritualism in their stories; some, like Arthur Machen and Algernon Blackwood, actually subscribed to its views. Hinton, who wrote a number of "scientific romances" himself, was a post-Christian altruist who speculated that spiritual agencies might work by means of the fourth dimension and believed in something like eternal return.
Some Christians of the late Victorian era, disconcerted by the advance of materialism, attempted to colonize the fourth dimension themselves. For other Christians, such as the liberal theologian Edwin Abbott Abbott (author of Flatland: A Romance of Many Dimensions, a book much admired by Hinton), higher spacial dimensions were merely a metaphor for gradual way in which the human mind must approach divine truths.
 |
| [source] |
I have in my hands a Dover edition of Speculations on the Fourth Dimension: Selected Writings of Charles H. Hinton, which includes several of Hinton's scientific romances. It's edited and has an excellent introduction by Rudolph v.B. Rucker, also known as Rudy Rucker, author of the Ware Tetralogy and a modern tribute to Flatland and all-around sci-fi author of note. So no doubt I'll soon be posting about all of this yet again.
*
My post on four-dimensional arts and crafts includes an account of my building the sections and net of a 120-cell. More recently, I've printed and built the sections and net of a 24-cell, which is a regular four-dimensional polytope built from twenty-four octahedra.
The sections proceed as follows, with colors given as the craft paints I bought at Wal-Mart: (I) the octahedral cell at the "south pole" (Parchment); (II) the truncated octahedral section cut by a hyperplane through the midpoints of the edges "above" the south pole (Parchment and Real Brown); (III) the cuboctahedral equatorial section cut by a hyperplane through the set of vertices to which these edges connect (Look At Me Blue and Real Brown); (IV) the truncated octahedral section analogous to Section II but in the "northern hemisphere" (Look At Me Blue and Real Brown); and (V) the octahedral cell at the "north pole" (Coffee Latte).
The net has the "south pole" at the center and the "north pole" at the base. For reasons fully known only to my subconscious, but partly inspired by Dalí's painting above, I decided to model it after traditional depictions of the Hindu god Shiva as Nataraja or Lord of Dance, with three-fold rotational symmetry.
Shiva is the destroyer, and his dance is the cosmic dance of creation / destruction. That puts me in mind of the line from the Bhagavad Gita, uttered by Krishna, quoted by Robert Oppenheimer, and used by me in the title of a short story: "Now I am become Death, destroyer of worlds."
Thursday, January 25, 2018
Francisco Carvajal y Lopez: A (Self) Portrait
My story "White Rainbow and Brown Devil" is set to appear in Heroic Fantasy Quarterly Issue #35 in February. It's a direct sequel to my first Carvajal story, "Heart of Tashyas," coming between it and "I Am Become Death, Destroyer of Worlds," and takes place in the Southwest Texas border region, which is where I live, beginning at Sycamore Creek and traveling up the Rio Grande across Devil's River and Seminole Canyon to the Pecos crossing. (The geography is somewhat telescoped.)
The story will be accompanied by an original watercolor painting of its protagonist, the vagabond conquistador Francisco Carvajal y Lopez:
That is, essentially, a self portrait, except that I don't have long hair, I don't wear earrings, I don't encourage birds of the American subtropics to perch on my shoulder, and I don't go about armed to the teeth. Ultimately it's just a picture of the guy in my story, but to me it also asks the question To what extent do I identify with my protagonist? without really answering it. I looked to Frida Kahlo for inspiration.
Here's the slightly modified version that will accompany the story:
That's a green jay on his/my shoulder, incidentally. In the United States, green jays are found only in South Texas. The sewage treatment plant outside the town I live in is pretty much the northern limit of their range. I sometimes go there to bird-watch, and the jays are my favorite thing to see. A magnificent, lime green bird with a dark blue head. Much of the adjoining nature reserve occupies an old landfill covered with thickets of prickly pear; Carvajal's first adventure in "Heart of Tashyas" began at the foot of the small extinct volcano just across the highway, on a site now occupied by trailer homes and the ruins of a fort.
Here's the initial sketch:
The background is a prickly pear cactus wallpaper design of my own devising:
There are exactly seventeen types of wallpaper symmetry. My design is described by the group known as pg in the IUC (International Union of Crystallography) notation. I created it by drawing a single prickly pear image and copying it via translations and glide reflections.
I cast this wallpaper upon the Internet for noncommercial use, but I urge the reader to employ it in papering a room only with extreme caution.
The story will be accompanied by an original watercolor painting of its protagonist, the vagabond conquistador Francisco Carvajal y Lopez:
That is, essentially, a self portrait, except that I don't have long hair, I don't wear earrings, I don't encourage birds of the American subtropics to perch on my shoulder, and I don't go about armed to the teeth. Ultimately it's just a picture of the guy in my story, but to me it also asks the question To what extent do I identify with my protagonist? without really answering it. I looked to Frida Kahlo for inspiration.
Here's the slightly modified version that will accompany the story:
That's a green jay on his/my shoulder, incidentally. In the United States, green jays are found only in South Texas. The sewage treatment plant outside the town I live in is pretty much the northern limit of their range. I sometimes go there to bird-watch, and the jays are my favorite thing to see. A magnificent, lime green bird with a dark blue head. Much of the adjoining nature reserve occupies an old landfill covered with thickets of prickly pear; Carvajal's first adventure in "Heart of Tashyas" began at the foot of the small extinct volcano just across the highway, on a site now occupied by trailer homes and the ruins of a fort.
Here's the initial sketch:
The background is a prickly pear cactus wallpaper design of my own devising:
There are exactly seventeen types of wallpaper symmetry. My design is described by the group known as pg in the IUC (International Union of Crystallography) notation. I created it by drawing a single prickly pear image and copying it via translations and glide reflections.
I cast this wallpaper upon the Internet for noncommercial use, but I urge the reader to employ it in papering a room only with extreme caution.
Thursday, January 11, 2018
Nightmare Alley
Question: What does William Lindsay Gresham, the American author of Nightmare Alley, a bitingly vitriolic, pessimistic, cynical novel about the rise and fall of a carnie conman, have in common with C. S. Lewis, the popular apologist and beloved writer of children's fantasy books?Answer: They were both married to Joy Davidman.
I first learned of Nightmare Alley, which came out in 1946, when I watched the film noir of the same name starring Tyrone Power. After being rather difficult to find for a long time, it was available for streaming through Amazon for a brief period last fall, but has now mysteriously vanished again. It's an excellent film, a true gem among noirs. I must be getting worldly-wise, because I could tell exactly where the film was glossing over seedy details or pulling its punches. Most importantly, I could tell exactly how the story was supposed to end. I don't want to spoil it, but it's hard to think of a darker ending.
If the film is excellent, the novel is only that much better, a detached, merciless dissection of a man destroyed by his own small-mindedness and lack of self-understanding. Stanton Carlisle, the protagonist, uses what he learns at the carnival to start a big-time mentalist act, then reinvents himself as a spiritualist minister in a bid for money, lots of money. I don't think I'm giving anything away when I say that it all blows up in his face. He shows no mercy to marks and gets none when it's his turn to be the prey. The last line of the novel is so cold it burns.And yet it's impossible not to pity Stan. There are several flashbacks to his childhood: you can't really look at a well-portrayed kid and say, yeah, he gets what's coming to him. As the pieces of his backstory fall into place, you see the picture of a child warped by selfish parents whose dysfunctional marriage pushes him into the adult world of fear, lies, compromise, manipulation, frustration, and abuse. The novel leans heavily (though not explicitly) on certain well-known Freudian theories, but its examination of Stan's psychology is no less incisive for all that.
Nightmare Alley is a grotesque but beautiful kaleidoscope of twisted humanity, in which the only freaks, inside the carnival or out, are those who aren't freaks. It's aptly named, because you can see the monstrous ending from far off in the very first pages, then proceed to step slowly toward it with the inevitability of a nightmare. Nightmare Alley is a masterpiece of noir.
A brief but detailed account of Gresham's life can be found here. He got to know the ins and outs of the carny world through a fellow volunteer in the Spanish Civil War. Shortly after the war his first marriage ended in divorce. He began drinking heavily and attempted suicide, after which he turned to writing and editing, marrying Davidman, his second wife, in 1942. They had two sons. His abiding interest in sideshows, spiritualism, magic acts, and debunking molded his literary career as a writer of both fiction and nonfiction.
In an account I can't seem to locate right now, I read that he and his wife both became interested in Christianity and the works of C. S. Lewis; he ultimately moved on to other things (like Spiritualism and Scientology, strangely enough), but Davidman, who was a Jewish atheist, became a Christian and traveled to England to meet Lewis. Gresham had an affair with Davidman's cousin, Renee Rodriguez, while she was away. He had also become abusive toward her and their children, and their marriage ended in divorce, after which he married Rodriguez. Davidman's subsequent marriage to Lewis was made famous by his writings, most notably by A Grief Observed, written after her death in 1960. Gresham's sons remained with Lewis.
Gresham committed suicide at a Manhattan hotel in 1962 after being diagnosed with cancer of the tongue. In his pockets they found business cards that read: No Address. No Phone. No Business. No Money. Retired.
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