works of wanderlust

Tag: science fiction

  • media: streams of september

    I have been dabbling in my media consumption. I have half a dozen books on the go and it’s a dead heat to see which one I’ll race ahead and finish first. I’m deep into at least four different video games right now. I’ve got a couple movie-watching missions on the go. And I’ve been tackling my episodic entertainment on the streaming platforms with a scattershot abandon.

    My lack of focus is probably linked to a couple of things happening in my professional life and my inability to sit still for longer than thirty minutes, it seems, lately. I have this overwhelming sense of something that I can’t really describe in other way than as a sort of productivity fomo, a fear of missing out on making or doing something more important than what I am ever doing at that moment, so I can’t sit still and just do much of anything.

    But my neurosis aside, I did manage to push through a couple of series.

    The last couple of weeks I watched:

    streaming: Umbrella Academy, Season 1

    I watched this whole series the first time, start to finish, pretty much as it rolled out.  Each new season release turned into a binge watch with the Kid. Binge watching is not my preference. I think it must be a generational thing. Kids these days! I prefer my suspense to hangout at arbitrary act breaks determined by the commercial nature of broadcast television that forced me once to wait an entire week between episodes. Gah! Alas, there was a part of me that felt like watching it in binge-mode the first time through had my poor old guy brain at a disadvantage and that a slower paced rewatch was in order. I spread my second go at season one out over about six months, which admittedly, might have been a lot slower than the spirit of my long lost self intended.  If you have not partaken of the Umbrella Academy quite yet think of it like a kind of off-brand Marvel superhero-type story blended with a bit of goth style, some retro-alternate-futurism and a dash of dark humour. Oh, and a lot more random death. It was the brainchild of Gerard Way founder of My Chemical Romance and cousin to conspiracy theorist Joe Rogan, which should tell you more than enough about the vibe of this thing.  I watched it first time with a fourteen year old and now she is doing an arts degree in drama and film studies. Correlation or causation, you tell me. The backstory is far too complex to explain, except maybe to say kids with mysterious powers are raised by the world worst parent without access to therapy and what could go wrong? The end of the world could go wrong, that’s what could go wrong. Worth your time, but maybe watch it over a few weeks and neither two days nor six months.

    streaming: Avenue 5, Season 2

    I have a soft spot for comedic science fiction. In fact, did I have the confidence of prose to compose comedic narrative in a science fictional setting it would almost certainly be my genre of choice. I even wrote a series of articles trying to wrap my head around the mechanics of the absurd, thinking (probably vainly) that if I could put some logic to creating the illogical I might have a thread of hope upon which to grasp and thus, perhaps foolishly, try to write some silly sci fi. The conclusion that I ultimately came to was that writing absurdist and funny spec fiction is actually hard—and so much more difficult than writing “big guns in space blow shit up” fiction or “evil robots chase frightened people” stories. The thing is, I grew up on a steady diet of Douglas Adams and Red Dwarf, and I know for my endless efforts of looking for it that good absurdist comedic science fiction pretty much remains a genre with a lot of empty shelf space. Again: because it’s hard to do well. And I mean sure, modern casual science fiction bros like Dennis Taylor or Andy Weir have written great stories that are funny-adjacent, often providing a good belly laugh, but those and other funny-adjacent authors are storytellers who are telling serious stories while acknowledging that sometimes regular people do funny things. People are not generally absurd all the time, is what I’m saying, and neither are their characters. What I’m talking about here are mostly slapstick among the stars humour, buffoonery and chaos and, yeah, absurdity. Avenue 5’s cast was stuffed full of great comedic actors but only earned itself two short and obscure seasons of what turned out to be a cliffhanger serial narrative because—I’d like to think—it was misunderstood. I finally tracked down the second season last week and watched it in the span of twenty-four hours binging, and too watched it with the eye of someone looking for absurdity in space. Anyone looking for a moral or a message would be disappointed of course, but like all great comedy it had heart and that should have earned it a couple more seasons—and not an abrupt cancellation.

  • book reviews: from the end of the world

    I realize it has been over a month since I posted a review, but it has not been for lack of reading. Oddly enough my biggest struggle has been focussing on one book for long enough to cross the last page finish line.

    When I first bought my new ebook reader I had downloaded a trio of books from the library and so I had no issues grinding through the limited selection. But over the last month or two a number of holds have reached the top of my library queue, I discovered an ebook repository for free classics, and my occasional browsing of the deals section on the kobo website has resulted in me accumulating titles faster than I can read them. Here I am with a different big stack of books, it seems.

    In other words, I’ve been dabbling and I now have something like a dozen books on the go.

    So while lately I have been reading a lot of things, I actually finished reading…

    Oryx and Crake by Margaret Atwood

    There was a time not so long ago when it seemed like a sure bet that biotechnology was merely lagging behind advancements in digital computer tech and that eventually and inevitably it would catch up. That one day humanity would program critters and people and viruses in the same way that we now write apps and databases and AIs was taken as a given. Still quasi-working in a healthcare-adjacent role and daily-ish using my university degree in genetics when this book came out, I seem to remember reading it the first time and feeling as if I was just looking down a futurists timeline of potential society-killing options. Farfetched, maybe, but manipulation of genomes and biohacking as a corpo-dark-era tactic at the hands of lunatic geniuses was not off the table. I think twenty years of uninspired progress towards much of anything in this realm has not taken off the table the doom of society via bioterror, but it has thrown a bit of cold water on the idea that a lone genius prodding DNA in his private lab will unravel the fabric of life and twist it to his own evil designs. Atwood, as usual, paints a stark vision in this the first of the MaddAddam trilogy which I decided to re-read before I plunged into books two and three soon. In a world of AI erosions of our own real society from the bottom up, breaking the world through exponentially accelerating evasion of laws and decency and good taste, it was an interesting voyage back into the simpler times of dystopian fictions that just wanted to kill us outright rather than simply making us obsolete and angry. 

    Stupid TV, Be More Funny by Alan Siegel

    I will admit: my guilty pleasure these last few years has been rewatching old episodes of The Simpsons along with a fan-tastic weekly show called the Talking Simpsons podcast. The now thirty-six year old cartoon show has been a running theme in my life these past decades, and revisiting the classic eps has been a breath of nostalgia for me in these weird times. And as pedantic as it can sometimes get, diving down the rabbit hole of production minutia and listening to random commentary about the history of television from decades past definitely beats the modern news. The author of this book was a guest on the aforementioned podcast, hawking his book obviously as he chatted along with the retro-nostalgia conversation, and I just happened to be pondering books for my reading list. Of course, with so much scope to cover even a book a hundred times as long could likely still not do the subject matter justice and Siegel chooses to focus on a collection of early production obstacles and paint a story of the little-show-that-could breaking through the norms of a media landscape that was stagnating with wholesome sitcom predictability. As a devotee of the television nostalgia podcast genre I can’t say there were more than a few nuggets of knowledge that I had not stumbled across before, but the book does frame them up and contextualize the story against the backdrop of cultural and political shifts going on at the time. It would definitely make a great entry point into a vast field of knowledge, and a worthwhile read even for us crusty old nerds who are already neck deep in the lore of an aging media form.

    Endymion by Dan Simmons

    It would be fair for anyone to assume that the third book of a four book saga could be the weakest of the bunch, but somehow that is not the case with this one, the third volume of Simmons Hyperion Cantos. We pick up into the story over two hundred years after the end of the last book which left in a bit of a hanging what-happens-next scenario us as the civilization humanity had built across the stars on the shaky foundations of their AI creations was entering a collapse and fizzling into a new dark age. And once again the style does an about face and we are granted a new (doomed) narrator and new narrative style. Two hundred years is a lot of catching up to do for any story, particularly when the seeds were planted for a daunting religious oligarchy to grab power in the void of the civil collapse, and our narrator strings us through a story of a lone child, the descendent of two of the characters we met in the previous two books, who is facing down insurmountable odds to, we presume, take on the empire. The story is a river tale. That’s trope, I think. The main cast finds itself moving down a river on a raft towards a vague destination and the challenges they face are those of not just the humans chasing them but the natural obstacles they encounter along the way. I can’t think of more than a couple of stories that use this structure, but it definitely feels like a trope… and that’s okay because the science fiction setting and the juxtaposition of natural obstacles and the seeming unlimited power of a fully armed and super-powered military apparatus chasing our protagonists while they float down an interstellar river on a flimsy wooden raft is a kind of magic that keeps one turning pages. 

  • Photobia

    retro post: I wrote a blog for over 16 years at this very domain …and some of it is even worth reposting here again. This might be one of those posts.

    It was the invention of the digital photograph that may be credited with the reprieve from destruction granted to humanity… or at least for saving us temporarily. 

    I know, dear reader, that this may be a bold and potentially far too dramatic statement to place on the mantle of our budding new relationship, here, now, just like that, but there it is. Fact. A fact I know to be a virtual certainty, a clear and unobstructed truth, viable from a million perspectives, crystalline and as clear and in-focus as any photo I’ve clicked, snapped, plucked from the photons of light scattering through the air. Any. Ever. 

    But then I don’t take pictures any more, do I? Too risky. Too selfish. I ceased that hobby when I learned more of it. After all, it was all there, as plain as the language and words scribbled on these pages, the twists of very phase that we were there using to excuse our actions. I saw it. I saw the truth of it unfold, and it was confirmed for me in a proof so perfect that I could not doubt it, question it, ignore it. And perhaps you too will stop your own frenzy of photographic apocalyptic chaos after what I am able to…

    Ah, but wait; Surely I am getting ahead of myself. 

    It is my failing. This tenacity in me to grasp onto a moment and present it a single, perfectly focused image is still so strong, it remains so firmly entrenched in my heart, soul, my being, or whatever you prefer to call it, that to extend that moment temporally, to weave a path through the here, now and before, to pull it out like a spool of film stretched backwards in time as to explain a sequence, and then to play out the implications after the moment has passed and well into the future thereafter, ah, but it is not a skill that I have honed by my years of clicking shutters and catching instants of light in my lenses. I was a photographer and the haste derived from that skill is core, essence to my being. I regret that now, of course, but that this tale, this rant, this warning should suffer any, unfold poorly, or fall to convince because of that lapse, ah, but that burden is not yours, it is mine.

    See, you already know me I think. We’ve met. We’ve bumped shoulders on the street. 

    Ah. Recall? there was that time in Paris when I was steadying myself against a lamppost, my back turned to the Champs-Élysées while my lens was aimed at some richly flowing frieze upon the Arc de Triomphe. You walked through my frame and I snapped at the exact, precise, inconvenient moment when you stepped between the epic stone monument and my camera, your head turning and your eyes catching in a softly focused blur of confusion that forced me to retake the picture. 

    We were also together, briefly but together, that day in New York City, my fish-eye lens a bubble of elegantly tuned glass exploding the blur of lights, neon, and yellow taxi drag-lines into the perfect snapshot of West forty-second street in the last second of sinking daylight in a photograph that I would have been proud to hang on my wall, but no, no, no, thank you, no, because there was your head smudging, blurring, blocking the lights of the McDonald’s sign against the New Amsterdam marquee from my frame. 

    You don’t remember? 

    Then perhaps I can jog your memory of that day when we knocked elbows, paid our excuse-mes, as we both leaned over a rustic wooden rail bending into a kind of pale misty haze falling out of a mountain scene, zooming in to photograph that waterfall near Jasper. Or the day of the parade when your kid’s balloon persistently strayed into my shot. Or maybe it was you that handed me an awkward glare when I was merely taking photos of my own family in the park and lingering, yes, lingering a little too long on the swings striving for the idealized action shot I had blinking through my mind’s eye. 

    It was somewhere, may have been everywhere, or it certainly was anywhere, but believe me, we’ve met. 

    Ah, but please don’t misunderstand. This is not to imply or inflict some abstract, unfocused blame upon you, dear reader. Blame? Ha! No. Not blame. Blame for what? Blame for something, nothing, everything. Blame for the anguish of ruined photos, ah, no. No. Not blame. 

    No. Oh no. No. No. 

    No. 

    That would never do, indeed no. Blame, not at all. Not for you or me or any one of us alone. No. Rather. Well, rather it’s merely, simply, wholly that we are acquainted, you and I, somehow, if you know it, believe it, share that knowledge or not, and within the frame of this notion I share my picture of the impending apocalyptic ruin, end and doom of humanity. Just that.

    Just that.

    Just that. And who ever would have thought our eventual demise would be filtered through a lens so seemingly benign, so innocent, so… so… ah, but there I go again.

    It starts like this: it starts with the simple understanding that when I was a boy I was also a scout. That was me; Picture it. A neat-and-tidy uniformed, nature-strolling, camp-fire-building scout standing with his trusty red-plastic army knife tucked into a faux-leather utility belt and an orange scarf neatly woggled around his young neck. We camped. We crafted. We sang songs. We pledged allegiance to mysterious English lords long since dead this past century, and saluted proudly to the flags of our country and our club. I tell you this now, dear reader, because it is important that you understand one of those oft-recited mottoes, a rhyme, a creed, an elegant maxim of old-fashioned wisdom that peppered my actions then and thereafter, for a long piece of my adult life, and even now haunts this very treatise. We had a motto that would be repeated, sage wisdom flung to anxious children as they clambered out of a crowded sport utility van dislodging themselves from civilization and stepping into the wilderness. Our voices would sing it out to fellow scouts if we caught them dropping a wrapper from a snack, or snapping a still-green branch from a tree. “Leave only footprints,” we’d chime with the sing-song air of a memorized credo, “take only photos.”

    Take only photos. Take only…

    Photos? PHOTOS? Just photos. Just that.

    August 1998

    I was packing. “How many rolls of film do you think I should take? Five? Six?”

    “You can always buy more.” She says.

    “Twenty-four photos per roll at six rolls, that’s, uh… about a hundred and fifty pictures. Is that a lot of pictures? It doesn’t seem like a lot a pictures to me.”

    “Depends.”

    “It is my first time over to Europe. How many would you take. I don’t know, but it seems like there could be quite a bit I’d like to photograph. I don’t think I’d use a whole roll every day, but it’s three weeks. Three weeks. Twenty one days. Or is it twenty-two? No, right, twenty one. And only one hundred and fifty photos. It… it seems like I might take more than five or six photos per day, you know?”

    “You can buy more film. They sell film in Europe.”

    “But do I want to always be looking for places to buy film?” 

    My nerves are not my friends when I travel. They get the better of me. Always have, always will, I suspect. I am not a fearful traveler, but I stumble through the unknown with both hands outstretched and my feet plodding, scuffing, stumbling along with methodical care and attention. Travelling didn’t come naturally, either. Some people see the world and grab onto it with both hands. I wanted to reach out. I wanted to grab it. I wanted to soak it in, flit from place to place, country to country, new world to new world, absorbing the people and the culture, dropping into another culture, another city, blending with perfect fusion of ease and certainty. I wanted to be the guy who stepped off an airplane with perfect confidence and waved for a taxicab to scoot him off to an important place or vital meeting, I wanted to be seamless and noticed all at the same time, blurred into a geography not my own. But I was not that guy. Instead, I fumbled with maps, and studied unfamiliar street signs, I was the guy who looked up into the sky as if it would help me orient my latitude with the grace of a mythological ranger, as if seeing the glare of the sun would shine an all-knowing beacon upon my destination. I was not that guy. Oh, no. Not he. No. No. No.

    “They sell film everywhere. I’m pretty sure.” She insists. “You can very likely buy it from shops on every street corner or even from little old ladies selling their baking from baskets. Anywhere. Everywhere.” A pause. “You are going to a place that thrives off of tourism, so you think they are going to miss the chance to sell you something as fundamentally important as film?”

    “They have that?”

    “What? Film?”

    “No. I mean do they have little old ladies selling muffins out of baskets?”

    “I have no idea.” She sighs. “I’ve never been.” She says, she begrudging me jealous, but she is going back to school and I’ve graduated. “I’m just talking, you know? But they will have film. Everyone has film.”

    “So, how many rolls of film do you think I should take?”

    “Take five.” 

    “Five? And buy more?”

    “Yeah.” She says. “Just buy more. It’s just film.”

    Originally published: November 7, 2013

  • book reviews: no rules

    Barely twenty four hours after I finished reading Dust (which I reviewed in a post now barely a day old) I finished yet another thick tome of a novel which I had been reading concurrently: the second book of the Hyperion Cantos.

    I don’t know exactly how thick. Digital books be bits.

    There are no rules about all this reading books and writing reviews, are there? If there are, I’m willfully ignoring them, going to read and post whatever I want. I mean, hell, I’m usually reading five or six books at any given time, random opportunity, and always depending on my mood. Sometimes I’m vibing for some soft nature comedy while other days I’m grooving on a juicy apocalyptic allegory.

    Similarly, there’s no rules that can’t say since I’m now apparently starting with a relatively clean slate with whatever novel I pick up later today, I can’t also clean off the ole review slate to go along with it. Thus, to round out the usual trio of reviews, I dug out a bonus pair of books that I had polished off and reviewed earlier in the year, pre this-blog-revival to add to the my list.

    The Taking by Dean Koontz

    If I asked an AI to write a paranormal thriller wrapped around a religious allegory and puffed up with so much flowery language that a poet would hold their hands up for a reprieve, there is a good chance the AI would spit out something very close to this book. I was feeling like I should do a survey. I have been writing a lot of paranormal science fiction lately, and like anyone who dabbles in anything it only makes sense to dip one’s toe into the pool of publicly available material that already exists in a category.  In researching the category of paranormal science fiction, I came up with Dean Koontz, so went to the used bookstore to hunt down a book or two. The story was something of a chaotic fever dream. The short chapters jumped from idea to idea, barely lingering on anything long enough to track the impact. Chekhov left a dozen guns at the scene and nary a one was fired. And the self-importance of humanity in the vastness of the universe that came gurgling out of these pages could only have been written by someone who was—wait for it—writing a science fiction take on the biblical flood. Zoinks! I should have seen that coming. Gah! I’m sure some people like this schlock but it wasn’t my jam.

    1Q84 by Haruki Murakami

    It had been a long time since I read 1Q84. And strictly speaking, I listened to it as a very excellent audiobook shortly after it came out fifteen years ago. I was a different person then, half my adulthood ago. I didn’t remember it. I mean, I thought I did. I thought I had an impression of the story, but I had convoluted bits of it in my mind and confused it with other things I must have read since or before or whenever. Murakami drops hints to his methodology in the story, and the surreality of the plot seems to sweep by and if you aren’t paying attention maybe you miss these things. I wrote a one pointthat this book seems like a descriptive stew pot with morsels of plot mixed in. It is, after all, as much a sensory experience reading this tome of an 1155 page novel as anything else. The author has one of his characters spend months reading slowly through Proust and reflecting on that experience, and I think that this book might be a kind of modern, surrealist response to Proust in some ways. (In fact, I reserved a copy of Proust from the library to poke my nose into that to see if I get the same vibe from weird translated French literature as I do from weird translated Japanese literature.) I don’t want to spoil the book by degorging the plot here though. It is a meditative slog through a closely parallel world from which the protagonists are seeking parallel escapes, each other, and understanding. And in all that, all those 1155 pages almost nothing happens and yet it is filled with life and action and heavy beats of human footsteps through time and reality. It’s worth your time to read this.

    Fall of Hyperion by Dan Simmons

    The sequel-slash-second book of the Hyperion Cantos takes off mere minutes after the first book ends, but is marked by a stylistic shift that would almost make them feel like completely different series if not for the rich characters we have been following. Where the opening novel is a book of “tales” and backstory as the key players make their way like set pieces to the larger game, this one is a more traditionally linear story jumping from and around the various perspectives of the original characters and a small cast of others as a complex galactic-scale mystery unfolds. Hyperion is a kind of cautionary tale about the yoke of technology around the neck of humanity, and the slow realization that the conveniences and advancements that have been offered by technological tools can often be mistaken for progress. Simmons, as much as he is an author of hard technological science fiction, might just have been waving a warning flag to a society on the cusp of an information age that was just arriving as these books were published. The highly advanced data networks and frightening artificial intelligences that are key players in the story have very clear and obvious analogs to our modern age, and in the context of a world shifting and changing under the influence of unrestrained social media and the exponential growth of systems that increasingly do our thinking and creative work for us is a message that Simmons was probably decades ahead of his time in offering.  I assume countless other science fiction authors have trod a similar path to shout an identical message into the void, and sadly it seems as though very few of us are listening.

  • book reviews: fathers day

    Coinicentally perhaps, all three of the last trio of otherwise-disconnected books I recently read had a thread of fatherhood-related importance running through them. 

    It was Father’s Day yesterday, and my last as the dad of a kid (because The Kid will be An Adult in a couple months) so while I’ll be a dad for the rest of my life my role is changing a little bit this year, and I’m not sure what that means yet. The fathers in each of these books were important narrative elements but each in a very different way, one a paragon, one a lunatic counter-example,  one a steady hand in a storm.

    Hyperion by Dan Simmons

    I have listened multiple times to the audio version of the entire Hyperion Cantos, a four book hard science fiction series set roughly six hundred years in the future in a society of humanity resettled onto hundreds of worlds interconnected by technologies, both alien and AI, that they don’t truly understand. This first book is a kind of Canterbury Tales story, a collection of backstory narratives told by a collection of pilgrims—one the aforementioned father travelling to complete his daughter’s journey—travelling towards certain doom towards the mysterious shrine of a threat that has defined each of their lives yet which is understood by none of them. The Shrike is a kind of technological demon of unknown origin, built by aliens or sent back from the future, with control over time and space and a merciless agenda the pilgrims can only speculate upon. I decided to read the text version of all four books after I obtained a complete ebook collection, and even though I’ve heard all four novels more than once I find I am reading more details on this pass though. The author incorporates as both a theme and a character throughout the novels a kind of embodied homage to poet John Keats who died tragically of tuberculosis in the early 1800s at the age of 25, and while visiting the Spanish Steps in Rome in 2023 I happened to see the commemotation of this marked upon his final home, if nothing else grounding this now-comfort read for me and urging repeated readings of this wonderful collection.

    The Mosquito Coast by Paul Theroux

    If you have seen the 1986 film adaptation of this book which stars Harrison Ford as a misunderstood inventor driven mad by his pursuit of a Swiss Familiy Robinson-like escape from america to the jungles of Honduras, you’ve been misled about the tone of this novel. The novel is decidedly darker, and whomever turned this into a PG-13 romping adventure into the wilds did the source material a deep disservice. The novel’s protagonist Allie Fox is witnessed through the eyes of his fourteen year old son-made-narrator who details with gaslit devotion the madness of his father as he rages against the world as he flees with narcissitic paranoia further and further off grid to escape the perception of modern society as a prison. In a modern parlance we would recongnize these sorts of men who rule their families with thinly disguised emotional abuse as fountains of toxic masculinity, ripe for the propagandas of the right wing sovereignty cults or the red pilled movements. Seen from the eyes of his son, the collapse of this man into destructive madness is simultaneously pitiable and fearsome even knowing what such men have done to our societies over the last couple decades when they don’t take flight from their own shadows. This book shook me.

    Dust by Hugh Howey

    I did it. I sunk my teeth into the final book of the Silo trilogy and read the conclusion to this dystopic tale of society’s collapse at the hands of madness and righteousness. Even more than the previous two volumes Howey seems to lean into the misguided evils of people who blindly believe in things: their own infallibility, patriotic furvor, religious ideologies, among other subtler concepts. All of this emerges from the narrative web that Howey wove with the rich collection of characters and stories that only just started to interconnect even as the second book concluded. In the third and final installment the disparate storytelling becomes an obvious whole as the plot bounces between the characters and their chances of fortune that have led them on a plot-based collision course with each other and the ultimate conclusion of the story. The author isn’t shy about raising the stakes with any and every chapter, beloved characters meeting fatal fates with a regularity that would make Game of Thrones readers blush, but the harsh reality at the end of the world is that between desperation and ignorance is the rawness of survival against the odds. I wonder how the mini-series that prompted me to dig deeper into the orginal novels will handle it all.