It’s been 4 years since the last post about Lord of the Rings. Let’s do this!
This is a slightly different take on the differences between the book and the film. Wisecrack have looked at the major themes rather than diving into all of the changes made in the adaptation.
When I last discussed the Lord of the Rings series (see here, here, and here), I heaped praise upon the adaptations. They were able to trim down the waffle and create possibly one of the best trilogies in film history.
I hadn’t previously given a lot of thought to the changes in the themes between the book and the films. Now that it has been mentioned, the character arcs in the film should have been more obvious to me. I also find the idea that the movies were (accidentally??) made to be more secular is interesting. Perhaps that change is as much to do with when the book was written versus when the films were made.
Given the desire to reboot and remake every intellectual property in the cupboard these days, maybe the next LOTR movies will be given an Avengers style makeover. Lots of quippy dialogue, everyone has lots of money, several of the lead characters spend time with their shirts off and arms bulging, and somehow there will be product placement everywhere.
This month It’s Lit! discusses the (mythical) life of literary icon Ernest Hemingway.
I have to admit… Yes, you know what’s coming. I write that line whenever one of these interesting videos covers an author or book I haven’t read.
Anyway, my exposure to Hemingway is decidedly limited. The very helpful Hemingway App is supposedly named for his love of clarity and precise sentence structure, creating simpler, clearer writing. Yet the short stories I have read of his have decidedly complex sentences that are often pushing that clarity level to its limits.
Or to say it another way, similar to what was discussed in the video, there is a myth around Hemingway’s style of writing.
Maybe it’s time to give one of his novels a read.
Here’s the problem with tackling Ernest Hemingway—Ernest Hemingway himself. While the iconic author is mostly known for his feats of literary prowess, from The Sun Also Rises to For Whom the Bell Tolls, to countless short stories—perhaps his greatest fiction of all is his own self-mythologizing. As his brand grew in the 1920s and 30s, so too grew his celebrity and, well, his ego.
So, with Ernie all the while throwing so much self-mythologizing in the mix that it became nearly impossible to separate the Man from the Myth.
If you have all your ancestors’ memories, is that better or worse than having them watch you masturbate from the afterlife?
[Warning: this review contains a spoiler for a book released in the 1970s, which obviously requires a warning so that people will be adequately able to navigate to the comments section to complain.]
Paul Atreides’ twin children, Leto and Ghanima, are sick of being treated as children and are ready to rule. Their aunt Alia is possessed by her ancestor, Baron Harkonnen, and wants them dead. House Corrino is plotting to take over Dune, and wants them dead. Some of the Fremen want to return to the old ways, and want them dead. And their grandmother wants to test them with the gom jabbar, which could potentially leave them dead.
This review is being written almost a week after I finished reading it. Usually, a gap of this much between finishing and reviewing suggests I wasn’t left with any strong impressions of the book. And I think Children of Dune certainly falls into the category of “a book I have read”.
The book was entertaining. But it was only adequate.
Dune was a great novel. I felt Dune Messiah was a lesser novel in every way, whilst still enjoyable. Children of Dune was another few steps down the quality ladder.
I think the issue was that Children of Dune didn’t feel as well constructed. What appeared to be major plot points were essentially over before the halfway mark. Another plot point which has been hinted at for three novels essentially came out of left field. [Spoiler] Leto’s transformation really lacks supporting explanation. I mean, I find it really hard to believe that Leto was the first to get high on drugs, pull on a sand trout skin, and realise it gave them superpowers. Herbert introduces this idea as it happens and explains that it was something kids regularly did with their hands for fun. You can’t tell me that no idiot has ever been that wasted and tried it out.[/Spoiler]
Children of Dune was entertaining enough. But I don’t think I’ll read more of the series.
This month’s What’s the Difference covers a beloved movie in Howl’s Moving Castle.
I have to admit to not having gotten onboard of the Studio Ghibli lovefest bandwagon. At best, I can claim to have watched half of Spirited Away and some film analysis videos that sing the studio’s praises.
But, but, Fantasy! And anti-war! And environmentalism! And anti-consumerism! And anti-discrimination!
This month’s It’s Lit! talks about what it takes to have a novel become a BESTSELLER!
For anyone who has peaked under the hood of professional writing, what Lindsay Ellis discussed in the video will not come as a surprise. The intrigue really comes from why “bestseller” status is taken so seriously.
To some extent, the status symbol of “hey look, lots of other people like this” is a great marketing tool. It is something of a populist recommendation for those looking for their next read. And that can work. It doesn’t just work for readers, it also works for the industry, who will make decisions based off of that status symbol.
But I have a sneaking suspicion that the gloss is fading on the bestseller status.
Lots of books lay claim to bestseller status on their covers or in marketing blurbs. I first noticed it with indie publishers. While it is nice to tell people hunting for their next gothic-urban-scifi-ninja-alien-western-romance-dinosaur-erotica novel that this example once ranked #1 in that category for 5 hours one rainy Sunday last August to encourage someone to buy it, I’d have said it feels disingenuous to call the novel a bestseller.
This trick has been used with many novels. There are lots of lists in many countries, so if someone sold well after a good book tour of Upper Kent, then they can expect to hit the New Brunswick Daily Gleaner’s bestseller list. Now “bestseller” status is plastered on the cover and readers will see what tickled the fancy of some of the 100 residents of Upper Kent. Let’s not even go into how various groups will game the system to get their favourite books on those lists (selling it to a national book club works wonders…).
Which is why we see reverence being given to the big name bestseller lists, like the NYT list. But this is just as pointless. Exactly how relevant is “success” in a handful of select New York stores to a debut author from Oslo?
So while bestseller status is a nice shorthand for popular reader recommendation, it probably shouldn’t replace actual recommendations.
Here on It’s Lit!, we spend a lot of time pontificating on the high canon of books: Your Shakespeares, your Tolstoys, your… erotic beast wars fanfiction. But today we’re craving something a little lighter, a little fluffier… you know, novels you pick up for the sake of just having something quick– your beach reads, your airport novels, your Books of the Month. Books that, while you might never have to read them for a seminar or a class or that sweet clout, somehow manage to dominate most water cooler discussions about literature. We’re talking Your Dan Browns, your Jodi Picoults, your Where the Crawdads Sing, seriously, how has the book managed to be on the top of every bestseller lists for so many months, I don’t even KNOW what it’s about but it’s my mortal enemy.
These are your blockbuster books, the bestsellers of the bestsellers–And whether or not you read them or turn your nose up at them, for better or worse, they are the tent poles that support the publishing industry.
Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres, and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.
If you labour the point does that make you working-class?
Dr Aaron Bastani is best known as one of the founders of Novara Media in the UK. A recurrent theme to their journalism is a hope to move society toward Fully Automated Luxury (Gay Space) Communism. His book attempts to articulate the whys and hows this will be possible and reasoning for it being the utopia we’re all looking for.
Fully Automated Luxury (Gay Space) Communism has been the dream of lefties since they first spotted a capitalist getting out of bed at noon to start a hard day of reading the paper and smoking cigars at a Gentleman’s Club. The rise of FAL(GS)C has been predicted by people of all political stripes, but notably anyone with one eye on the future. It’s often part of post-scarcity utopias common in science fiction. So writing about it in the 2010’s is not exactly groundbreaking.
In many respects, Bastani’s text is an update on how close we are to utopia right now. While it stands alone as its own argument for FALC, there aren’t a lot of new insights.
This isn’t a bad thing. I think people do need to be reminded that the future we choose to have is being shaped now. That our future could be one that is good for everyone rather than good for the type of people who buy diamond collars for their dogs.
But I felt Bastani laboured the point throughout. This could be because I’m somewhat familiar with most of the points raised. It could be that I was wanting less explanation of the basics and more of the ramifications (see for example my comments below about automation jobs lost vs created). Regardless, I felt this left the book somewhat lacking in its arguments and evidence.
I also felt that there were points made that were somewhat irrelevant or missed huge points. Space mining seems like one of those things people talk about because it has the word space in it. I’m yet to be convinced of the need and point of it. And as great as disrupting the system can be, you have to talk about the transition otherwise you risk making things worse, not better.
If you’re familiar with FALC and read the occasional piece about technology, this book isn’t going to offer any new insights for you. For everyone else, I think this is worth a read to start thinking about the sort of world WE want rather than the world others will create for themselves.
Comments while reading:
I’ve heard Bastani talk about some of this before, but in his writing he is somewhat labouring the point about automation from computers. Yes, automation has happened and will happen from increased computing. But I hope he gets into less of Moore’s Law and more on the jobs lost to automation, if that is increasing, and whether they are being replaced.
Although, on that point, Bastani is trying to argue for FALC, so not really about replacing the jobs as sharing the fruits of their labour, methinks.
While I get the excitement about mining space, I really don’t see the point. As Bastani notes, one precious metal asteroid would oversupply the market thus make the exercise worthless. Not to mention, do we actually need more stuff, or are there just billionaires eyeing off the title of trillionaire? Like phosphorus, supposedly we’re running out… We’re not, actually, we’re just running out of cheap and easy to access sources. Hell, we literally flush away shitloads of nutrients and metals every day. If you change the way we think about our resources (particularly the value we assign) then it could be easier to just use our current planet better. And share better…
The discussion of the future of food and agriculture is interesting if a little inaccurate. We see the common claims about soils only having X harvests left (that is just false, but widely reported), and about meat requiring lots of inputs (bit misleading since something like a cow is used for a lot more than just the meat). In fairness, his mistakes are understandable as there is plenty of scientific literature that makes these same mistakes (which really undermines the credibility of some groups with those in ag science).
But the point about food being able to transition to partly/mostly/wholly being done “in the lab” is true and exciting. It does, however, have to be done as a proper transition, not as a disruption (as implied). Otherwise you’re lining up a genocide for food animals, the collapse of a massive industry, and huge negative environmental impacts (weeds and pests alone would be detrimental). Family farms are the biggest landholders and environmental managers, and I see a logical transition to having them become environmental land managers (reintroducing flora and fauna, documenting said same, controlling ferals, etc).
Bastani’s overall thesis is pretty obvious: hey, look at all of this now and near-future tech. We could literally all sit around and do whatever we want. Wouldn’t that be better than having a handful of trillionaires while the rest of us starve?
For Black History Month, It’s Lit! are discussing the Harlem Renaissance, a movement I was completely unaware of until now.
In the video, Princess Weekes made a comment about Langston Hughes being taught in school. Well, maybe in some schools, but certainly not mine.
This ties into a point she makes at the end of the video about how a lot of the figures of the Harlem Renaissance aren’t discussed as much as you would expect. Highly influential poets and authors would normally have a place in the modern literary canon. That they aren’t taught more widely, especially as part of that larger discussion of history and society, is something of a perpetuation of the problem.
But totally worth it so that I got to read ee cummings. Soooo glad I didn’t miss out on his stuff. Playing spot where the punctuation should be is waaayyyy more important than understanding peoples and cultures within our society to help stop marginalisation.
I’ve discussed previously how worthy authors are usually just lucky. Part of that luck is systemic. Being the right colour, writing in the correct language – English being the correct one, preferably in the USA so they can do their cultural imperialism thing – and not being too mean to the orthodoxy fits into the system. If you can’t manage that for some reason, then the literary canon is not for you.
One of the most influential periods in Black American History post-slavery is the Harlem Renaissance, an intellectual, social, and artistic explosion centered in Harlem, Manhattan, New York City.
Novels like Passing by Nella Larsen, Their Eyes Were Watching God by Zora Neale Hurston, and the poetry of Langston Hughes were all written during this period and have become important pieces of the American literary canon.
Still, when discussing this topic we tend to flatten the dynamic personalities and identities of the Black folk responsible for making this period so iconic in the literary sense. Not only in America, but as part of the entire Black diaspora.
Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres, and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.
*Puffs on cigar* The Establishment, hey, this sounds like a book for me. *Pulls out monocule to read sub-heading* This book is trash!
Owen Jones’ The Establishment is an attempt to lift the veil on how power and the powerful have seized increasing levels of control and wealth from society at the expense of everyone else. It covers several facets, from the creators of the intellectual frameworks, through the enforcers of control, to the self-entitled people treating the economy like a casino safe in the knowledge the plebs will bail them out.
This was an excellent read and filled in a lot of the details for events and social changes we’ve heard covered numerous times. Instead of hearing these details discussed by the usual apologists of the status quo, Owen makes it clear what is happening and weaves it together as a solid narrative and argument for change.
Needless to say, I’m sure that plenty of the dismissals of this book did so by spotting a misplaced percentage symbol or by the tried and trusted baseless accusations of inaccuracy or confusion.
As an Aussie, I saw a lot of parallels between what Jones discussed for the UK and what the experience has been in Australia. The effective lack of difference between the two major parties (nominally right and left, but realistically described as shit and slightly less shit), the dominance of conservative (Murdoch owned) media, and the close ties of the powerful, all very familiar. This book could have been written about Australia, not the UK.
In some respects, the book, A Game of Mates, tried to cover much of the same ground. That book failed to be convincing as it lacked some of the scholarship and well thought out solutions you’d want. Jones’ The Establishment is the opposite, as it is compelling, and thus I take his arguments and solutions far more seriously.
Some of the solutions are no-brainers, like instead of taxpayer bailouts being socialism for the rich they could instead be the taxpayers buying the banks, utilities, etc. But some ideas, like stopping the revolving door, are more difficult and not fleshed out enough. This was also a solution proposed in A Game of Mates, and as I said in that review, it’s not well thought out. Are we just going to say that people can’t take on a different job in their field of expertise? Are we trapping them? Would it not be better to look at examples of where there isn’t/wasn’t a revolving door, and create those conditions (which I imagine would relate to a robust sense of community and contribution rather than thinking about how to game the system).
The Establishment is worth reading and then discussing widely.
Edit: Listening to an interview with Stacey Abrams reminded me of something that Jones said throughout the book that was quite important. There is this idea that the “two sides” of politics differ greatly and are hugely divided. Abrams stated that “conservatives want to conserve, which means protecting inequalities and suffering that occurs now from getting better” (approximate quote).
But something that I’ve noticed, and a point that Jones made throughout with reference to polling and surveys, is that there is a lot more common ground than people think. Jones argued that in many respects, the people who want the most progressive measures taken also happen to be voting for the most regressive and conservative parties and politicians. This is generally because supposed left or progressive politics doesn’t capture the attention, while those ultra-conservative voices are able to rally populism and easy messages to address complex issues (the classic being to blame the job stealing, dole bludging Schrodinger’s immigrant for whatever real issue).
So it is a trap people are falling into when assuming that the populous are somehow not looking to make society better. The real problem is actually selling the message of being able to make society better rather than just putting a fresh coat of paint on the status quo.
Comments while reading: The main thrust, as outlined in the Introduction and part of the first chapter, reminds me of A Game of Mates and the TV mini series (based on a book) A Very British Coup. The former was a somewhat disappointing book that I felt lacked some evidence and cohesive thought to the arguments, which I get the early impression Jones isn’t replicating (i.e. he’s making a solid case).
The argument is similar to what we see in A Very British Coup where the power sphere is inherently conservative and the general populous is complicit in that continuing because the system was designed to keep democracy from eroding the power of the powerful. In that series (and the book), the powerful literally seek to undermine the democracy of their nation using any and all means. Obviously, completely fiction and no parallels to real life events can be drawn… (See: https://en.wikipedia.org/wiki/A_Very_…)
The “good old days” that many people talk about were also the times of social democracy (at least partly). That annoyed the neo-liberals and free marketeers. Yet many of the reactionaries today would still point a hazy finger to those years as “great” (less for the economic social democracy and more for the bigotry). So it could be argued that many of the economic policies post-WW2 are what we need. It had more equal economic policies and it was a stark contrast to the pre-war policies that produced significant inequality in society.
Found myself nodding so much, but none more so than with the conclusion. I’d pull out some quotes, but the entire thing is a great summary of what needs to be done and why.
The status quo may be treated as common sense now, but future generations will surely look back with a mixture of astonishment and contempt at how British society is currently organized: the richest 1,000 individuals worth £520 billion,1 while hundreds of thousands of people have to queue to eat in food banks; a thriving financial elite that helped plunge Britain into a vortex of economic collapse, which was rescued by over £1 trillion of public money but continues to operate much as before; a reigning dogma that treats the state as an obstacle to be eradicated and shunned, even as the state serves as the backbone for private interests; a corporate elite, dependent as it is on state largesse, that refuses to contribute money to the state; a media that does not exist to inform, educate, as well as challenge all those with power, but which serves as a platform for the ambitions, prejudices and naked self-interest of a small number of wealthy moguls. More startling to our descendants will be how this was passed off as normal, as entirely rational and defensible, and how institutions run by the elite attempted, with considerable success, to redirect people’s anger to those at the very bottom of society.
A bit of a change of pace for this What’s the Difference? with Wisecrack diving into the key difference between the Netflix version of Death Note and the Manga and Anime.
I was first exposed to Death Note via the Japanese live-action film adaptation. It was an intriguing and decent film (with some pretty dodgy CGI for Ryuk). That lead me to watch the Anime TV adaptation, which is excellent, if just a bit heavy handed. I have to admit to reading very little of the Manga because I kinda felt like the Anime had covered it really well.
When I saw they were releasing an American version of Death Note on Netflix, I was all over it. I didn’t expect the dense and loquacious Anime, but was thinking they’d remake the film adaptation with better CGI, no subtitles (because Americans don’t read), and star some former Disney child actors looking to do something gritty but lucrative to make sure the mouse didn’t throw their souls into the volcano under Disney Land. What we got was 90 minutes of garbage.
On the Wikipedia page for the American Death Note film, it is described as “loosely adapted from the Japanese Manga”. The word loosely is doing a lot of heavy lifting in that description.
The above video does a pretty good job of covering what the film does wrong. Not different, wrong. The film really does feel like someone saw that Death Note was successful, so they bought the rights, got a director to read the elevator pitch for the series (kid gets the power to kill people by writing in a demon’s book), and thought that was all they needed to do. Everything about it is a failure to understand what Death Note was about. The characters are shallow and lack any value to the story. The story lacks any substance. And they managed to turn one of the most compelling sequences from the Anime into a chase scene involving the wrong characters.* Because every American film needs a chase scene… In short, they made a bad film and an even worse adaptation.
The main thing to remember about Death Note is that they’ve already made a very good adaptation with the Anime.
* See this video that discusses the scene from the Anime I’m referring to.
How does Netflix’s Death Note adaptation hold up to the original?
The anime version of Death Note, which is a faithful adaptation of the original manga, is one of our all-time favorites. So how does it compare to the not-so-beloved 2017 Netflix version? Let’s find out in this “Book” (aka Anime) vs. Film: Death Note
MR: This happens every few thousand years and only the greatest can save the universe.
Me: So blowing up all the artefacts is going to make it hard for future generations to save the universe.
MR: Try not to think about that.
Jack West Jr is back in the third and final… almost final instalment in the trilogy which started with The Four Legendary Kingdoms. When we last saw him he’d lost family, friends, and was battling to keep ahead of the royal families while saving the universe. And nothing has changed. Sphinx has powerful new weapons that can put a city to sleep and has all the clues to help him gain access to the final challenge. Meanwhile, Jack is trying to save his family and friends and figure out what everyone else already knows.
As I’ve already indicated, I was expecting this to be the third book in the adventure trilogy. If I had remembered any of Matthew’s social media posts about the book I’d have realised he’d had so much fun writing that the trilogy has gone all Hitchikers Guide. This was both a good thing, as who doesn’t enjoy more of the books they are reading, and a bad thing, because the next book isn’t out yet!!!
Much like the previous The Three Secret Cities, I really enjoyed the book but upon reflection, wasn’t as excited by it as some of Matthew’s novels. I’m starting to suspect that this is a “more of the same” issue. The thrill of a Matthew Reilly novel is somewhat dampened by the fact I’ve read all of his stuff (multiple times in some instances) and am now a jaded husk of a reader, doomed to seek thrills from other authors who will fail to live up to my ever loftier standards. Other authors have reached this point much earlier for me (looking at you James Rollins and Steve Berry). Hopefully, Reilly will pull out all the stops – that is to say, no stops, just all sprinting – in the final in this Jack West Jr series.
After successfully taking the imperial throne, Paul “Muad’Dib” Atreides now rules as Emperor. The Fremen have been busy waging a religious war across the empire in Paul’s name, racking up a body count that would make all other past atrocities look like a rounding error. Paul is trapped in his destiny and is trying to nudge (future) history toward peace while negating conspiracies, fulfilling his role as Emperor, and keeping Chani safe.
Dune Messiah is an interesting follow-up to Dune. I had been expecting something of a look into the universe outside of Arrakis. Instead, the story is focused on (to use Herbert’s own term) inverting the tale of the chosen one’s rise to emperor. So much of the novel is about Paul feeling trapped, his failures as a leader, and the usual problems associated with retaining power as a dictator.
In many ways, this is a smaller novel than Dune. Much of the universe has been established, particularly on the political side of things, which means Herbert is able to discuss the foibles of his hero. This is both a good and bad thing. Most sequels would go bigger (or at least more explodey), so turning inward on the tale makes Dune Messiah interesting. But it also means you feel like this instalment is somewhat lesser.
I’m quite intrigued to see where Herbert took this series next [insert joke about Brian Herbert ruining the franchise after that].
So… Elves like to watch you dance naked… And don’t even tip. Creepy.
The kingdom of Lancre is about to host the royal wedding of former fool, King Verance II, to current witch, Magrat Garlik. The locals are preparing for the wedding and the arrival of foreign dignitaries. With the wedding scheduled for Midsummer, when the skin between realities becomes thinnest, elves are trying to return to the Disc. But not if Granny Weatherwax has anything to say about it.
I have to preface this review by saying it has been so long since I’ve read A Midsummer Night’s Dream that there is virtually nothing I remember of it. Maybe a thou or two, but that’s it. As such, a novel that mocks it is not going to be fully appreciated by me.
As I was reading Lords and Ladies I was thoroughly entertained. There were some fantastic moments, not least of which was the inclusion of the Many Worlds Theory. It’s easy to pick out quotes:
“In fact, the mere act of opening the box will determine the state of the cat, although in this case there were three determinate states the cat could be in: these being Alive, Dead, and Bloody Furious.”
“If cats looked like frogs we’d realize what nasty, cruel little bastards they are. Style. That’s what people remember.”
But several days on from finishing the novel and I’m hard-pressed to think of anything much to say or highlight about Lords and Ladies. It’s an entertaining read, a solid entry in the Discworld series (particularly the bees), but otherwise somewhat unremarkable. That feels somewhat sacrilegious to say about a novel that is head and shoulders above most anything else. I guess there is a universe in which I have read A Midsummer Night’s Dream more recently and regarded this Discworld instalment more highly, just not in this one.
This month’s It’s Lit! covers the woman who made vampires sexy.
I was a young and impressionable university student when I bought The Vampire Lestat. It was not the first reimagining of vampires as more human creatures I’d read, but it managed to feel more substantial than other efforts. As a result, I went out and gradually made my way through the first half-a-dozen Vampire Chronicles. They still sit proudly on my shelf next to my wife’s collection of Twilight books.
There were obviously a lot of people who felt the same way as myself. We enjoyed the tales of immortals walking through history. We even liked that pensive sadness all the characters dripped. It certainly made the indulgent detailed descriptions of ancient art mildly tolerable.
And I think that is why I parted way with the Vampire Chronicles and Rice’s works in general. There was a moment in reading one of her novels, either Blood and Gold or perhaps a Mayfair Witches books, when I remember commenting upon the poem at the beginning of a chapter. Here was yet another very arty poem by Rice’s husband to skip over, what a waste of good paper.
Now, I generally dislike non-novel additions to novels. Chapter titles are fine, but sub-headings, dates, locations, quotes, poems, and other indulgences are just stuff in the way of my book reading. They often feel like attempts to make the work more arty or important than it really is. In the case of dates and locations, common in thrillers, they feel like lazy writing. And Rice was the author who made me dislike these things.
Once you start pulling at the thread, things start to unravel. I started to realise just how indulgent and boring much of Rice’s novels were. These were books I thoroughly enjoyed, yet I’ve not felt compelled to reread them since making this observation (I’d read several of the Vampire Chronicles at least twice at that point). Maybe I’m being too hard on Rice, I mean, she did pretty much reshape genre fiction (as discussed in the video). Maybe I need to revisit The Body Snatcher or The Vampire Lestat (again, as they were my favourites I’ve read multiple times).
Or maybe I should pickup some Lestat fanfic. Rice would love that.
Forbes once called her “The Warren Buffett of vampires,” but American author, Anne Rice has established herself as the literary queen of monsters of ALL kinds over her four-and-a-half decade career. Besides her 15 novels of the world-famous Vampire Chronicles series, she’s also written 21 other books featuring all your favorite dark, supernatural, and undead beings: witches, ghosts, mummies, werewolves, aliens, demons, angels, Jesus.
But the works of Anne Rice aren’t just light, pulpy fun monster books–her vampires changed the landscape of genre fiction as we know it?
Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres, and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.
Going into the back paddock isn’t normally this bad.
Jame “Heater” Healey has only one dream. Buying a new bike. With an abusive father, no money, and a handful of friends with similar small-town struggles, the only thing that makes him feel good is riding. After the latest in a series of beatings, Heater starts to notice strange things happening in his little country town. He and his friend Ember attend the local harvest festival where things take a turn for the weird. From here on in it is all downhill. Can Heater survive the return of the Wulf?
A couple of years ago I decided to revisit the novel The Hoodoo Man, which I read when I was young. It was just as good as I remembered and felt the need to hunt down the rest of Steve Harris’ books. This was no easy task as the late Steve Harris (born 29 September 1954 in Basingstoke, died 4th October 2016) was one of those talented authors who was just becoming established when his career suddenly ended in the late 90s. Between his publishing house being bought out and the rejection of one of his novels for being too horrifying, his books went out of print and are largely forgotten.
The Wulf was Harris’ second novel and has a similar narrative style to many horror novels. We get introduced to the small rural village of West Waltham and its inhabitants. There are abusive parents, cheating partners, semi-famous philanderers, tree-changers, impoverished jerks, and small-town folk. And in true horror novel form, the supernatural elements that seek to destroy this little corner of the world are only really as bad as the easily corrupted inhabitants living normal lives up until now.
Which is why I’m only giving this novel 3 stars. It is fairly good, if too drawn out, horror novel that doesn’t have quite the impact that I’d been expecting. Of course, reading a horror novel in 2020 is like accidentally hitting your thumb with a hammer and then putting your thumb down on an anvil to make sure the hammer really connects cleanly this time.* So horror fans will probably enjoy this earlier Harris novel.
*My wife called this a heavy-handed metaphor. We’re both very punny.
Lovecraft Country: where the monsters play second fiddle to the racism.
Atticus Turner’s family has a secret link to the powerful Braithwhite family. The Braithwhites are part of a sect of natural philosophers, and they have designs on Atticus, his family, and his friends. Each of them are playing a part in Caleb Braithwhite’s plan [spoilers]which is, shock-horror, to take over the world… that is to say the USA[/spoilers]. Can Atticus and his kin triumph, even in Jim Crow America’s Lovecraft Country?
I think I was about two chapters in when I remarked how good this book was. Ruff’s weaving together of (US) black history and Lovecraftian themes made for compelling reading. Reading it in 2020 after Black Lives Matter has swept across much of the global north was a timely reminder of how there is still a lot to be done.
It was odd having to remind myself that many of the things in this book actually happened. Okay, I’m not entirely convinced that someone has figured out how to create a portal between worlds, but white people deciding to kill their new black neighbours because they are afraid of the impact on their house value, that was (is??) a thing.
The only real flaws for me was that there were a few sections that felt unnecessary (e.g. Rose’s new job) and that the racism could feel a bit off. This latter point is about how Ruff is telling us all what it was like to be black in America. It is hard for me to judge how accurate the handling of this was, as I’m not old or black enough to really understand, and the same could be said of Ruff. I wonder how historically accurate this story is – the racism, not the secret society of rich white guys using their power and influence to control the world, which is obviously bang on.
I think any flaws can be forgiven thanks to the payoff of the climactic scene. Weaving all of the narrative and thematic elements together for a single dialogue exchange was damned near as good an ending as you could hope for.
This month’s It’s Lit! discusses the series that should have landed in cinemas this year. But 2020 had other ideas, being the giant indestructible spanner thrown into the works of regular functioning society. So let’s just talk about the books instead.
A couple of years ago, I finally got around to reading Dune. I had previously gotten my hands on three of the expanded universe books written by Keven J Anderson and Herbert’s son. Let’s just say that those novels made me question the sanity of my friends who kept recommending the Dune novels.
Fortunately, I got past the ability of publishers to milk a premise long past the death of the cow. Dune was an excellent story.
In my review I made allusions to the point made in the It’s Lit! video about how the first novel has the feel of the rise of a demagogue. Having not gotten to the sequels as yet, the deconstruction of that sound particularly interesting. Dune only hints at the idea of how getting rid of the awful the ruling structures and leaders would be great. Destiny is tied into things a bit too much, while it appears the sequels unravels this idea.
Does this make the original novel and larger series the most important sci-fi ever? I’m not entirely convinced. Some books have inspired real life advances in technology or society (although less of the latter). I’m not sure Dune has had that impact, unless there is a spice I should be using in my cooking I’m unaware of. That isn’t to say Dune isn’t a great book (I’ll hopefully have some insight on the series in coming months) nor that it wasn’t influential in sci-fi. The lone fact that it managed to show that sci-fi could be a bestseller, particularly in hardcover, was a wake-up for the publishers who rejected the first novel such that an auto-repair manual publisher picked it up.
The main issue will be whether the new movie will arrive and not be the disappointment the other adaptations have been.
The planet is Arrakis. Also known as Dune. And y’all, it’s a mess. December of this year, we were supposed to see the arrival of director Denis Villeneuve’s interpretation of the 1965 novel Dune, which had been previously (and rather infamously) brought to life by David Lynch in 1984, and again in a three-part miniseries on the SyFy channel in the early 2000s. Now many sci-fi nerds were both excited and nervous about the new adaptation directed by Villeneuve, but owing to the ongoing plague of eternity, the release has been pushed back to next year. So in lieu of that, y’all have to use this video to tide you over.
What is Dune? Why must the spice flow? And what is with all the sand?
Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.
This month’s What’s the Difference looks at Doom Patrol.
I have to admit, I’ve only heard about Doom Patrol. Reading the comic or watching the show has not been on my to-do list at all.
I’m sorry Alan ‘Wash’ Tudyk, I’ll try to keep up with your projects in future.
The video really does make the show look interesting. Bonkers, but interesting.
Listen, there’ve been A LOT of superhero tv shows over the past few years and it’s taken a second for us to catch up. But few of them have tickled our fancy quite like Doom Patrol. The comic book adaptation that opts for fighting personal demons over fighting super villains borrows from comics storylines across the decades. So how did the shows creators pick the best storylines for from a long running DC b-team to make a truly unique series? It’s tie to ask What’s the Difference?
People: Look at this nice thing we did. Media: Boring! Sociopath: Look at this terrible thing I did. Media: Can you do that more? Maybe with a chainsaw this time? See how nasty people are!
With Human Kind, Rutger Bregman attempts to debunk an idea that underpins our social and economic systems. At the core of our society is this assumption that everyone is selfish, nasty, and would quite happily murder you, drink your flesh in a protein smoothie, and play with your entrails if it wasn’t for threats of state violence or eternal torment. Bregman addresses what he calls the Rousseau vs Hobbs debate over human nature with the intention of showing Russo was correct and we’re not so bad after all. And since we’re not so bad, maybe we need to rethink all the things we do based on this assumption.
Since I started reading philosophy I’ve slowly been coming to the realisation that society has been built upon what was good for the powerful. These ideas are often in opposition to evidence, morals, and the principle of not being a dick to others.* How can the Hobbsian view of human nature have won? People generally get along just fine. Most of the bad things we experience are from the outliers (sociopaths) or Hanlon’s Razor. Well, the simple answer is that the powerful can use the Hobbsian view to justify their position in society and to perpetuate it.**
Bregman does a pretty good job of tackling some of the common examples and studies used to “prove” how bad people are. One by one, they fall apart as scrutiny is applied to them. While the real-life Lord of the Flies story was the sort of thing that should be the stuff of legend, I found the debunking of the Kitty Genovese murder the most satisfying. They both illustrate how good news and bad news will be highlighted completely differently. This influences our view of the world. We should be careful in that regard.
As an argument, I think Bregman proves his point.
But… There is a bit too much glossing over important points. There are also some contentious assertions, like the idea that Homo-puppy (humans) domesticated itself by selecting for kindness. That isn’t to say these points are wrong, but they are taking quite a few short cuts and artistic flourishes (and Homo-puppy is a pretty cool flourish). One example, the selection for hairless apes as part of domestication is probably not true, or at least more complicated than implied.
Overall, this was an excellent book. I think if we all took these arguments seriously (and did the lateral reading to see how much support it has) then we could make a better world for everyone.
Or we could let the handful of nasty people continue to ruin it for everyone.
* That’s a direct quote from Jesus. ** Or as I put it in my review of Rousseau’s Origins of Inequality: inequality is a way for the rich and powerful to build a moat and castle.
Comments while reading: Love the bit about the Easter Island insult roughly translating to: the flesh of your mother sticks between my teeth.
There are some interesting points made in pursuit of the argument but they do gloss over a large amount of research. It would be very easy to dismiss the argument if you were so inclined. One example is in his criticisms of Steven Pinker. If I hadn’t already read several papers and articles that dive into how wrong Pinker’s claims have been, then it would be easy to see Bregman as cherry-picking. But then again, you could spend a long time just discussing prehistoric violence studies, which isn’t that exciting for the average reader.
How do you get people to bad things? Well, you need to bully and coerce. But you can’t just give people an order or force them, as they tend to resist. You have to appeal to their good side. They have to believe they are helping, that they are doing it for “the greater good” or because they trust the person asking for their help. “In fact, people go to great lengths, will suffer great distress, to be good. People got caught up in trying to be good.” (Don Mixon, psychologist who replicated the Milgram experiment.) “In other words, if you push people hard enough, if you poke and prod, bait and manipulate, many of us are indeed, capable of doing evil. The road to hell is paved with good intentions. But evil doesn’t’ live just beneath the surface; it takes immense effort do draw it out. And most importantly, evil has to be disguised as doing good.”
The Bystander Effect isn’t what we think. “…you can see that in 90 per cent of cases, people help each other out.” But of course, that doesn’t sell papers or drive outrage media. Good news stories blip, bad news you can fill entire days of coverage with. So they’ll spin a story, or they’ll focus on the exceptions, or they’ll do both.
The comments about education and bullying are interesting. Institutions that utilise hierarchical structures and introduce competitiveness essentially manufacture nastiness and bullying as a result. The book also skipped over something very briefly that is going to start being more important in education circles, and that is how bad testing is (particularly standardised testing). Teaching people to be able to pass a test is not the same thing as education.
The rich and powerful don’t blush. Rising to power essentially turns off your shame (thus you don’t blush) or you rise to power because you’re more likely to be shameless (sociopaths, narcissist, etc). This is why one of the tactics of keeping the powerful inline doesn’t really work. Shaming people with satire, mockery, humour, etc, would work on the average person, but that isn’t the case with the sort of people who feel they are better than us plebs.
Quibble: there is a lot of talk in this book about humans being 99% the same as whatever chimp. I’m a little sick of seeing this misunderstanding. We aren’t really X% similar in the way that implies. A lot of genetic code isn’t for making humans or chimps, it is for making cells, or biological functions, or transcribing proteins. So it fails to understand what DNA does.
Enlightenment I have issues with. There’s this assertion that the enlightenment was awesome because it gave us science, capitalism, modern democracy, etc. While Bregman does a good job of highlighting that it also gave us modern racism, it underplays just about every other criticism of enlightenment. You have to remember that it didn’t give us democracy, that had to be fought for by everyone other than the landed gentry. You have to remember that the invisible hand and selfishness weren’t good ideas, they were ideas that allowed the rich merchants to be in charge. You have to remember that Reason™ has been used to justify the status quo, hold down social progress, further marginalise the disadvantaged, create massive inequality. You have to remember that the enlightenment happened just after and during the scientific revolution.
In other words, there is a lot of cheerleading around Enlightenment without adequate acknowledgement of the problems and consequences, and discussion of how many things were converging at the same time (there is an argument to be made that a certain level of population density and people with spare time occurred, thus driving forward a large number of things, rather than it being down to a couple of big-name thinky people with invisible hands and justifications for landed gentry merchants being in charge). I mean, most of these ideas were come up with by Ethiopian philosopher Zera Yacob 50-100 years earlier, so there’s that too.
There are a couple of points made about punching Nazis and extremism that showed a want to either distance Bregman’s comments from those “radical lefties” or an attempt to appeal to the “enlightened centrists”. I’m not sure what the thinking was here, but it did show through a few blind spots. For example, Mark Bray’s book on Antifa outlines how punching Nazis is hardly the only thing Antifa do and there is solid reasoning used when it is done (and the march Bregman talked about being used to fundraise efforts at getting people out of the Nazis groups would classify as anti-fascist action, and I wouldn’t be surprised if it were under the banner of Antifa). It also showed a lack of understanding of political and social change. Yes, that much cited study on violence concluded that non-violent movements were more successful… Except that would have to ignore all the violent efforts that made the non-violent efforts possible (because everyone knows that ending Apartheid was all non-violent protest – e.g. rebuttal here).
Many culturally important books by Australian authors are out of print, hard to find as secondhand copies, and confined to the physical shelves of a limited number of libraries. Effectively, they have become inaccessible and invisible — even including some Miles Franklin award winners by authors such as Thea Astley and Rodney Hall.
By digitising out of print books and making them available for e-lending, the project will create a royalty stream for the authors involved, as well as income for the arts workers we are employing as proofreaders.
Commercial publishing lists, such as Text Classics and Allen & Unwin’s House of Books, do a great job of breathing new life into some of Australia’s lost books. But they often focus on literary fiction, to the exclusion of genre fiction, children’s books and non-fiction, which also need to be preserved.
Here are 10 of our favourites we’re excited to digitise so you can borrow from your local library straight to your e-device. We expect these and other books in the project to be available in the first half of 2021 – and you too can nominate a book for inclusion in the collection here.
Working Bullocks (1926) by Katharine Susannah Prichard
Noonkanbah: Whose Land, Whose Law (1989) by Steve Hawke, with photographs by Michael Gallagher
In 1979-80, the Yungngora people protested to stop the American company Amax drilling for oil on a sacred site on Noonkanbah Station, Western Australia.
This book is the detailed first-hand account of what became a high profile, ground-breaking land rights campaign, leading to the formation of the Kimberley Land Council. The Yungngora people wouldn’t have their native title rights recognised until 2007.
Alongside the reporting by Hawke, son of former PM Bob Hawke?, the book includes photographs taken by anthropologist Michael Gallagher.
In The Unlucky Australians, Hardy tells the story of the Gurindji people and the opening years of the strike they began in 1966.
Their protest against poor working and living conditions, seeking the return of their traditional lands, lasted nine years.
The Whitlam government returned some of those lands in 1975 with the historic transfer of “a handful of dirt” and the strike led to the passage of the historic Aboriginal Land Rights (Northern Territory) Act in 1976.
A vital piece towards understanding the shameful labour conditions inflicted upon Indigenous Australians, this book should never have gone out of print.
Inspired by three real life charismatic and dangerous individuals, these dark stories of abused trust and misplaced faith are transformed, taking on a gothic quality, with complex narratives, unlikely narrators and fairy-tale elements.
The White Garden is an ambitious novel following the misdeeds of the psychiatrist Dr Goddard (or Dr God, for short) in a hospital in the 1960s. Red Shoes takes us into the world of a religious cult. Cape Grimm looks at a religious order after its members are killed by their charismatic leader.
The Mindless Ferocity of Sharks (2003) by Brett D’Arcy
The Mindless Ferocity of Sharks is coming-of-age story about “Floaty Boy”, an 11-year-old with a love of body-surfing, his family, and what happens when his older brother disappears.
Described by the Australian Book Review as “Tim Winton on speed”, D’Arcy shines his own spotlight on Western Australia, exploring the duality of a life spent between the waves and the shore – and what happens when a family becomes torn apart by loss.
Untapped will launch with a free online celebration on November 24 at 6pm. Register for the launch here, nominate a book for inclusion at untapped.org.au – and let us know what you think we should digitise in the comments.
This month’s It’s Lit! dives into the world of graphic novels.
Obviously, I’m a fan of graphic novels. I think that the format provides an interesting and engaging storytelling method. Sometimes I think of graphic novels as a step between novels and movies (storyboards anyone?). Other times I think of them as a great way to pair down a story to its elements. And then there are the times when I don’t think too hard and just enjoy reading graphic novels.
I’ve previously written about how the snobbery of literature is especially pointed when it comes to graphic novels. And it always seems to come back to holding up a very certain kind of novel as “literature” and everything else as “unworthy”. Something I’ve come to call defending Fort Literature from the invading Lesser Works.
Maybe if people just gave graphic novels a chance to entertain them…
In the past few decades, literature has expanded to not only mean the “novel” but “graphic novels” as well. Today we are gonna break down how the graphic novel went from the comic book store to the classroom. Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres, and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.