Ellison Wonderland

How could I have lived in Los Angeles so long and not know that Harlan Ellison's old house is a landmark.  Not open to the public, it is nevertheless maintained and listed/marked on Google maps.  Good for you Harlan, rest in peace or in hell as desired.

https://www.instagram.com/p/DIuUgh9T0PJ/?hl=en

I came across Harlan's house on Google Maps when I was researching Fossil Ridge Park.

Ursula K LeGuin Has Passed Away

draft

I wish to note that Ursula K LeGuin is dead. She was a great influence on me growing up. It makes me ashamed to have failed so completely when I had inspirations like Ms. Le Guin.

It makes me sad.

MW

"The Grinnell Method" by Molly Gloss

draft

All I know about this story is that Molly Gloss wrote it, that it was published on Strange Horizons, and that Jeff VanderMeer recommends it. It has a feel of The Southern Reach to it.

This is one of those essentially perfect short stories that we all wish that we could or would write.

An excerpt from The Grinnell Method

From the edge of the marsh, she could hear a dog howling, a terrible prolonged wailing of pain or fear, and when she came out on the mud flats a wet black dog was pacing back and forth, lifting its muzzle every little while in a long, loud, doleful cry of anguish. She called to it without coming very near—she knew nothing of dogs, and thought this one might be rabid. The dog went on pacing and crying, looking out across the bay where an oyster boat rolled and heaved on the swell. Several men on the deck of the boat appeared to be casting and retrieving a drag net without recovering anything. The water was too choppy to see what it was they cast for—a man overboard, she feared, and then realized he must already have drowned—that they were casting for a body—or their efforts would have had more urgency. This was not something she could think about for long.

While she stood watching they brought up something heavy and dark, something like a waterlogged stump. The oystermen had seen her watching from the bay shore, and when they had the thing aboard they hoisted it up and displayed it for her, lifting and spreading the arms wide, lifting up the heavy head until the mouth fell open to white teeth, a red tongue. The bear's thick, sodden pelt streamed with salt water. The dog pointed his nose at the sky and suddenly raised a new wail—it seemed to her a sound of terrible bereavement. One of the men on the boat shouted something, but she could not make it out against the chop of waves on the muddy shore.

The "Oyster Catcher" plays a supporting role in this story

The Grinnell Method by Molly Gloss

Part 1

http://strangehorizons.com/fiction/the-grinnell-method-part-1-of-2/

Part 2

http://strangehorizons.com/fiction/the-grinnell-method-part-2-of-2/


The web site of Molly Gloss can be found at http://mollygloss.com/

Molly Gloss signing a book

Hollywood and Natalie Portman Demonstrate Commitment to Fundamental Values

Whenever we see a threatened community in this chaotic world stand fast and united in support of fundamental values I think it is important to celebrate the event. So many of our friends and institutions have thrown away everything that they used to stand for in order to make a fast buck.

Hollywood is not normally considered a shining pillar of integrity but I believe that is a misunderstanding on the part of outsiders.  Hollywood as a loosely-defined creative community has always had and continues to have a set of core values that are shared across the community and evolves with time.  These values have survived mergers and acquisitions,  new distribution technologies, government antitrust lawsuits, drought, war and pestilence. One of these core values is that there is always money to be made by the cheesy exploitation of women. Let us review a particularly creative use of this principle.

A few years ago, a well-known author of "weird fiction", Jeff VanderMeer, published three novels in a series called the "Southern Reach".  The first of those books, Annihilation, was optioned by Scott Rudin to turn into a movie. He hired the director of Ex Machina (2015), Alex Garland, to write the adaptation and direct the film. The book (and presumably the film) is unusual in many ways and one way that is important to us is that all the protagonists are women. The movie is the story of an expedition of scientists to an area where a strange event occurred many years ago that has cut this area off from the rest of the country.  There have been previous expeditions and they did not end well. So what we have here is a film where the four main characters are all strong and interesting women. The movie stars Natalie Portman, Jennifer Jason Leigh, and Tessa Thompson. The book is told from the point of view of one of the members of the expedition, the Biologist, played by Natalie Portman.

Nice posture, Natalie! 

As you know, Hollywood has often been accused of perpetuating demeaning stereotypes of women, and failing to provide serious roles for actresses who want to get their next academy award nomination.  So this movie provides an excellent opportunity to refute this sadly somewhat valid criticism of Hollywood.

This film, Annihilation (2017), has finished principal photography and still has a long way to go before it is released but Hollywood realizes it is never too early to start marketing a film. One time-honored way to do this is with interviews by various news media of the star(s) of the film.  And since the film is about four intelligent and adventurous women, it would make sense if that marketing also communicated some of these ideas.

And so an article/interview was created and placed in the New York Times Style Magazine.  It is an interview by email (that social media hook!)  with Natalie Portman by a writer in which they discuss the first short film that Natalie has directed.  They discuss many topics including Natalie's upbringing in Israel, the work of various eclectic authors of fiction, and so forth..

Now we get to the heartwarming, even inspirational, part of our story.  Ms. Portman discusses her movie and her childhood in very intelligent ways, certainly combating the stereotype of women in Hollywood. But I had not realized how financially challenged Ms. Portman was. You see, not everyone in Hollywood makes those multi-million dollar salaries.  Apparently, Ms Portman was or is so poor that she did not own any pants. Nevertheless they bravely went ahead and photographed this wonderful and talented person practically bare-assed naked.  Fortunately, Ms. Portman was able to hold up her part as these pictures clearly show.

It would have been easy for Hollywood to turn its back on a core value and portray Ms. Portman as a politically correct, bisexual, blue jean lesbian styled modern feminist and be acclaimed by one and all, but our producers and the studio are made of sterner stuff. The cheap exploitation of women and sex to sell a film is like "Motherhood and Apple Pie" to the rest of us. It is important. Hollywood did not let us down.

See this fabulous article here.

Are you going to just lounge around all day in your underwear?

Station Eleven and the Fate of the English Major When Society Collapses

Warning, this post contains very modest spoilers associated with the novel Station Eleven by Emily Mandel. They are not much of a spoiler, but you are warned.

One artifact of science fiction becoming mainstream is that one has to deal with reviewers and even readers who have not had the benefit of knowing the genre, those who have not submitted to the discipline required to truly understand faster than light travel, telepathy, multi dimensional time portals and a host of other topics.  These mainstream critics may thus not be qualified to understand the field and its conventions. It can lead to some unfortunate encounters such as when a fellow undergraduate at college once said "You should read Pynchon, he writes science fiction that is actually good" and I thought to myself, I will probably hate Pynchon.  Well, I did not hate Pynchon, nor do I hate Station Eleven by Mandel, but it is not great science fiction despite what the reviews say.   But Station Eleven did have an unexpected benefit.  Although it was not intentional on the part of the author it alerted me to a terrible danger facing this nation as it awaits the inevitable collapse of civilization.

Station 11 is the highly acclaimed fourth novel by Emily Mandel about the world after a pandemic. It has its moments. I might give it a sold B- or so, but never, ever the acclaim that it is getting. The point of this post is not to review the novel per se, but to report to you an unexpected weakness that could inhibit our recovery from the type of disaster the novel describes.

You see, one of the unintended subtexts of the novel is to reveal just how powerless and incompetent a bunch of liberal arts majors are without their internet. This was not an intentional theme of the author, rather it is an accident that is revealed by the author's (and the reviewer's) ignorance of what would be possible technologically even in the absence of electrical power, the internet, and high octane gasoline. This is apparently a disaster novel written by an English major. Very good at crafting paragraphs but not too bright when it comes to technology about which she clearly knows almost nothing.

So now two light spoilers although the first one isnlt much of a spoiler since you probably can not get through the first two pages without figuring it out.

Spoiler number one: Station 11 is set in a near future where 99.9 percent of humanity has died of a particularly infectious and fatal form of the flu. You can be infected by being around someone who already has it, no direct contact is necessary, and anyone who gets it is dead within a few days which is presumed to be long enough to infect everyone else. The end result is that within about a month pretty much everyone is dead. The people who do survive have to go out to the country to find food and create the setting for the rest of the novel.

In our second spoiler, we reveal that people are reduced to bows and arrows and it is a major plot point that some unknown people have actually recreated a small electricity grid. Technology you see has completely gone away and we are back to perhaps Late Antiquity or so. In other words, people know about horses, wheels, and plows, but can only dream of having a refrigerator or an electric light.

This is what comes of a deficient education system. This is what comes of having children raised on the Internet and reality television.

You see, seeing as how this is set in the near future, Toronto and the state of Illinois, where our plot mostly takes place, has something called a library. Probably every small town has one. And in this library are books. And down the street, now abandoned, are machine shops. And yes, while the rotary tools might very well be powered by electricity that is not immediately available, there are other ways to use those tools even without electrical power.

First, build one of these and use it to distill alcohol... 

Then go to your local abandoned hardware store and pick up one of these....

On top of that, it is not so hard to build a steam engine out of all the spare parts left around after everybody dies. One could easily build water driven devices and steam engines even without electricity or gasoline. A handy stream and some wood will do. And they can be rigged to drive a magnet with wire (which is lying around after the apocalypse in every building) and you have an electrical generator.

If you want to repurpose any of those millions of abandoned automobiles, where, you might wonder, would the gasoline come from since the story has established that gasoline went away through evaporation in a few years?

Well, not all engines run well on alcohol, but many can be tuned to run acceptably well.   Many engines such as one finds in things like portable power generators, available and in stock at your local hardware store, are made to run on a variety of fuels.  Even more useful, but more specialized and less immediately available, are belt driven generators which can use a variety of motive forces.  This is something that could be easily interfaced to a water wheel or wind mill.

Here is an article on converting your car to run on alcohol and how to distill your own by Mr. Keat Drane. See http://journeytoforever.org/biofuel_library/ethanol_drane.html.  This article is filled with interesting information about the history of fuels to power engines, and how to distill your own fuel.

The great American philosopher, Clint Eastwood, said that “A man has got to know his limitations” (1) and very clearly Ms. Mandel does not know what she does not know.

But Mandel has done us a favor and just in the nick of time. She has alerted us to the complete ignorance so many of our citizens have about how the basic things in their life work.  We can not choose who will survive the inevitable destruction of civilization, and if they are all English majors then we would have a second disaster on our hands. 

I hope you will join me in petitioning our public servants to create remedial education programs, programs which must be made mandatory for all English majors, to correct this dangerous knowledge gap before it is too late.

Station Eleven by Emily Mandel on Amazon.com

http://www.amazon.com/Station-Eleven-Emily-John-Mandel/dp/0804172447

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1. This is from Magnum Force, and Mr. Eastwood was being sarcastic.

Words Stolen from the English Language

First Uber, then Jaunt, two of my favorite words, now gone forever. Or at least as long as I live.

It used to be that I could show some multilingual sophistication by creating Germanic compound words, using Uber, such as uberdog, uberschmuck, and uberswine, just to name three. But now with Uber, the taxi service which is worth billions because it is able to find a way to employ the masses of unemployed that the US has created with globalization and with failing to provide any alternative for them, Uber is forever associated, in this country at least, with that quasi-taxi scam.

In other words, a favorite word has been stolen from me, and I dont like it.

Another such word is Jaunt. You may not be aware that “jaunt” a rather rare but normal part of the English language also has a secret meaning and a secret history. One of the most important early science fiction novels is/was The Stars My Destination by Alfred Bester in which teleportation is called “jaunting”, or “to jaunt”. Now it will probably lose that meaning because everyone will assume you mean the new, very well financed, VR game company.

You want to steal a word from me, fine. Love you too.

An early use of the concept of synesthesia

The Stars My Destination on Wikipedia

https://en.wikipedia.org/wiki/The_Stars_My_Destination

The Stars My Destination on Amazon.com
http://www.amazon.com/The-Stars-Destination-Alfred-Bester/dp/1876963468

Attention! Bad Science Fiction Movie Approaches! Morbius, Beware!

I am 12:40 seconds into Prometheus (2012).

I like to give these timeless epic movies a few years to age before I see them.  Usually I wait a decade at least, but in this case I am making an exception and seeing it when it is a mere two or three years old, positively still green and hanging on the tree by my standards.

On a ship deep in space we have a very odd person, who seems to have a broom handle stuck up his ass, exercising with a basketball, while on a bicycle, who then studies Indo-European linguistics and makes reference to Schleicher's Fable (see note below), watches Lawrence of Arabia and tries to imitate Peter O Toole.

Check out the attempt to imitate Peter O'Toole's haircut... here ... 

But then.

Oh !

Destination Threshold !

Red Blinking Lights !

... and here.

Oh my Gosh! Open the windshields, I mean the blast shields, we have arrived! Golly! What a surprise!

What total bullshit. 

You see, ladies and gentlemen of the jury, we are on a spaceship. As we have previously spent minutes of expensive screen time demonstrating, interstellar travel is very boring. You put the biped mammals on ice, you leave the robots around to keep the ship tidy and watch movies wishing they could have kinky man-android sex with Peter O'Toole, and being bored out of their android mind. You know very well when you are going to arrive because you have been watching a clock counting down digitally for years if not decades waiting for this moment. In fact, not only are you not surprised by this, you are probably on the observation deck as the planet creeps ever so slowly into view.

Indo-European historical linguistics aside, this is not a good sign.

But seriously, what this little moment implies is that at a deep and fundamental level the filmmakers are not making a science fiction movie for adults.  Obviously they are just blinking the red lights in order to create tension, which is fine, but there are plenty of ways of doing so without being stupid.  It means that the filmmakers either do not know any better or, more likely, that they do not care.  It could also mean that the story is for children, but I think we can presume in this case that the film is for the above-13 set.

An example of a science fiction movie that does not immediately throw reality out the window was Alien (1979) also directed by Ridley Scott.   This movie also played loose and fast with the technology of androids and also had some stupid plot moments, such as the usual corrupt corporation theme, but I do not recall that it immediately insulted our intelligence as this one does.

What other triumphs of stupid science fiction screen writing await us?

_____________________________________________

Notes:

Schleicher's Fable is an attempt by historical linguist August Schleicher to write a short story in Proto Indo European, an early reconstruction of a language common to many languages in the west, including Greek, Latin, Sanskrit, German, English and so forth. It is an entertaining whimsy of early Indo European language studies and no one in their right mind would memorize it unless they had a lot of time on their hand, which our android probably does.

Schleicher's Fable on Wikipedia:

http://en.wikipedia.org/wiki/Schleicher%27s_fable

Prometheus (2012) on IMDB
http://www.imdb.com/title/tt1446714/

Alien (1979) on IMDB
http://www.imdb.com/title/tt0078748/

Science Fiction or Fantasy in the Southern Reach

The following contains limited spoilers about Vandermeer's Southern Reach trilogy.  It does not discuss details or plot points, but does discuss basic approach and possible themes.

For about a decade, I read SF (aka science fiction aka speculative fiction) at high speed and nearly constantly.   This would have been before, during and after college, when I was productively employed at the RAND Corporation and had a future.  That is, before I destroyed my life by going into the bogus field of computer graphics / animation.   At some point, I decided it was time to move on to the related fields of historical linguistics, computational biology and so forth and so stopped reading much fiction at all.

But I was very fond of the field that SF came from and so recently, the last year or two, I have started reading selected works in the field of SF and came across Greg VanderMeer's Southern Reach trilogy, a work I reviewed here) and which I think very highly of.   

So I recommended this work to a friend who currently does read nearly everything in SF and he read it and told me how much he hated it.   The reason was because he felt strongly that it was not SF but was fantasy.  I on the other hand had no doubt and have no doubt that it is SF and not fantasy.

The reader of this blog may or may not know that the distinction between SF and fantasy is a hotly debated topic in the field, by which I mean the authors, readers, editors, and publishers who deal with Fantasy and SF.   This discussion has been going on since before I started reading in this area, and it goes on today.

The fundamental distinction between the two fields is to what extent one violates the laws of physics and of what we know about reality and with what consistency one does so.   In classic SF one is allowed to make certain assumptions up front, for example faster-than-light travel or alien races with certain characteristics, but having made those assumptions then write a story that takes place in that world without taking additional liberties.   Fantasy, on the other hand, so someone from the world of SF would maintain, is permitted to not only take more liberties at the beginning, but is allowed to use magical belief systems at any time later in the work.    Thus, according to one school of thought, SF is a sub-genre of fantasy but with more constraints on what is and is not allowed.

A landscape in the Southern Reach 

The classic or canonical work of fantasy might be Tolkien's Lord of the Rings whereas the canonical work of SF might be Verne's 20,000 Leagues Under the Sea.  Both are certainly works of fiction, and both are fantasy, but the latter has a more concise set of assumptions.

But another school of thought says that this distinction is perhaps not so clear as fantasy also has to abide by the rules and constraints of the assumptions that are made just as any good work of fiction must.   The difference between them may lie in the conventions of the specific topics that are chosen as assumptions.  In SF one may more properly assume technologies to go under water, but in fantasy one may assume the existence of a magical system available only to adepts, but in both cases one has constraints to live by in the execution of the story.

A metaphor-rich lighthouse lens plays a central role in the novels

But I think that the perception my friend had that the Southern Reach trilogy was fantasy did not come from that classic distinction between the two genres described above, but on another criteria sometimes discussed: what is the allowable amount of unexplained phenomena that is permitted?  If one exceeds this loosely defined limit would that make a piece of fiction fantasy and not SF?   

It is a premise of the Southern Reach trilogy that something very strange has happened to a part of the fictional, possibly parallel, world that the story is set in.   This region of the coast in a place very reminiscent of parts of Florida, is exhibiting a tremendous number of phenomena that are outside our normal understanding of how the world works.  It started to do so suddenly, with very little warning, and when it began, it put up a wall, or barrier, to separate the normal world from this very different place.   The plot and action of the story is for people from outside the area to try and figure out what is going on, what has happened, and what is the fate of the people who were in the area when the barrier came down, or who enter the area afterwards, or who remain outside the barrier in the normal world. 

Rampant ambiguity, or unexplained mysteries,  in the Southern Reach are part of the charm of the work. When the work is finished, many of these issues are still left unresolved although most of them, at least many of the important ones, are either somewhat resolved or we have a good working theory for what may be going on here.  But even at the end of the work there are still a lot of unexplained issues.  Some of this ambiguity is personal: what is the fate of this character or that one?  And some of the ambiguity is at a much larger level that involves the fate of many people, or the explanation for phenomena on a macro level.

The answer that is implied, but never conclusively pinned down in detail, is that we are seeing the work of an artifact or artifacts created by a very advanced and very different intelligence, one that is going about its work without much concern about us and may not even realize in some sense of the word that we are here.  But Arthur Clarke has famously pointed out that any truly advanced technology is indistinguishable from magic.   So when we are through with this book one does not have everything explained, and one can choose to believe that what one is seeing is magic and not technology if one wants to.   The author is by design not going to tell you for certain what is going on, it is up to you to make your own judgment.

So on top of all the other ambiguity inherent in the Southern Reach trilogy, we have the potential of a new one, whether or not the works are properly categorized as science fiction or fantasy.

At the end of the day, when you reach the light at the top of lighthouse, it is up to you to decide whether there is magic or unexplained and advanced technology that is behind some of what you have just read about.

Which leads us to another question.  Can readers of classical science fiction accept work that has a high degree of ambiguity?

Improving Elementary Education with H.P. Lovecraft

Education for young people is an area that most agree should be improved but there is no consensus as to what should be done to improve it.  I am aware of one specific area which I believe that we can all unite behind and work to see that this area is better represented in our elementary curriculum.

After some study, I have concluded that our school children are not being sufficiently exposed to the genre of American horror fiction.   This is a disgrace.   Immersed in a diet of graphic novels that emphasize sexually aberrant superheroes and heroines, our children are sadly unaware and uninformed about important topics such as the hollow earth, the elder gods, the forbidden knowledge, the unspeakable horror, ancient curses, and other important topics.  Why many have never even heard of Cthulhu, let alone understand his/its importance to the traditions of American fiction.

We must take action now and correct this error in our educational process.  We must make the point to our school boards and teachers that our children would benefit from being exposed to a greater diversity of outsider fiction.  And first among them should be the autodidact and self-published author H.P. Lovecraft who is considered one of the greatest writers of horror fiction in this or any country.

H. P. Lovecraft

But it has been argued that Lovecraft is not suitable for very young audiences.  These people are wrong. What could be more appealing to a young child than The Nameless City, The Dunwich Horror, The Shadow Out of Time or The Call of Cthulhu?

If it is still believed that some of Lovecraft is a little advanced for our very youngest readers, I have a solution. I want to present to you an approach that the artist R. J. Ivankovic has created and I think that this will answer any objections, silly as they may be.

R. J. Ivankovic has pioneered a mashup of Dr. Seuss with H.P. Lovecraft and other authors of the macabre, the horrible, and the grotesque.   Here are some images from his/her “Call of Cthulhu for Beginning Readers”, a reimagining of the original Lovecraft story about Cthulhu published in Weird Tales in 1928.

I believe that we should embrace Mr/Ms Ivankovic's vision and bring it to all our young children. I feel certain that the Dr. Seuss estate would look favorably on the request to use the Seuss style in such a noble cause.

And here is a “One Fish, Two Fish...” as reinterpreted through a zombie, night of the living dead, filter.

Please join me in recommending to our various school boards and committees this important work and help improve elementary education in our country.

DrFaustusAU can be found on Deviant Art at

http://drfaustusau.deviantart.com/

Find his or her The Call of Cthulhu for Beginning Readers here

http://drfaustusau.deviantart.com/gallery/34469914/The-Call-of-Cthulhu-for-beginning-readers

_______________________________________________

Notes

Cthulhu on Wikipedia

https://en.wikipedia.org/wiki/Cthulhu

H. P. Lovecraft on Wikipedia

https://en.wikipedia.org/wiki/H._P._Lovecraft

Art, Fine Art and Ender's Game

If one wants to know the very essence of Hollywood creativity, look no further than Ender's Game. It is the very height of what makes Hollywood great: shallow, stupid, yet empty of ideas, it contains the most predictable twist ending in the history of science fiction.

I first read the screenplay, or at least a screenplay, for Ender's Game in 1991. A very good friend who was trying to find me work after my studio, dWi, crashed and burned, gave it to me with the hopes that I would be so enthusiastic that I would literally bubble up with a billion ideas (I guess about how to use computer animation on it, which was by no means an accepted technique at the time), that all my free ideas would somehow magically make me a consultant to the project, to "be attached" in some way. What I knew and he knew (but would not admit) is that those who are associated with a project early on are rarely called to the altar when the project goes for real. The reason is simple: when the director is selected everything changes. It is the director (and his/her producer) who selects the team. Anyone associated with the project from before that has a less than average chance of being involved unless you are contracturally written into a project (which is unlikely, very unlikely, unless you are "above the line" (1), and people in visual effects are not).

Presumably our hero getting his suit calibrated on the game grid in Ender's Game

And so my friend was one more time disappointed in me when I refused to show any enthusiasm for this crass and juvenile property. Misplaced enthusiasm is a sine qua non for participating in Hollywood, and a worthless tool such as myself is expected to be endlessly enthusiastic and work for free in the hope that the Master will smile on their broken and exhausted slaves sometime in the future.

As I read this worthless piece of space kiddie porn, I thought, who are they kidding ? The book is a well-known and trite sf book for children by a well-known and well-meaning hack who has not, so far as I know, emerged from his very serviceable but pedestrian writing youth. Its an entertaining piece of fiction for children, relatively young children, about how studying for video games in an elite academy leads to saving the solar system from the alien menace.

Ender's Game in its original form.

Can you say "Last Starfighter"? Good. Now, say "Last Starfighter only much bigger" and you will get the idea.

But at least Last Starfighter (1984) had two things going for it.  First, it was the last film performance of the great Robert Preston.   And second it was a genuine use of computer graphics & animation in entertainment.   I am pretty sure that this is a III (Information International) project and one that John Whitney, Jr had a hand in selling (e.g. getting the filmmakers excited about using computer animation in their film).   

The youthful video game player, notice the graphics game control in the heavens above him.  Look familiar?

Our future savior of the galaxy or solar system (I forget which) playing what used to be known as a "video game" in its "coinop" days.  I love the term "coinop".

But don't worry. They have major actors to "open the movie" as we say in Hollywoodland. We have Harrison Ford! Well, thats nice, I like Harrison Ford. But having Ford is not going to make a shallow plot less shallow, or an obvious ending less obvious.

And how sad for Digital Domain, the prime effects supplier, (2) to end their long streak of movies on this piece of overhyped crap. From Titanic to Ender's Game? Is that it? Now that they have their new Chinese Masters, controlled by the Tong and the Central Committee of the Communist Party of the Chinese People, we will see where they go from here. I wish them all the best.

After all we are all going to be working for the Chinese, so its really not so different from what the rest of us will experience.

Ender's Game (2013) on IMDB
http://www.imdb.com/title/tt1731141/

The Last Starfighter (1984) on IMDB
http://www.imdb.com/title/tt0087597/

__________________________________

1. "Above the line" is a Hollywood term meaning many things.  In classic Hollywood there was literally a line in the budget separating the producer, wrtier, director and stars from the rest of the crew.

2. Nancy St. John is the effects producer for the production and is one of my favorite people in this so-called business.  Among other things, she is an alumni of Robert Abel & Associates, Digital Productions and Industrial Light and Magic.

Tarkovsky Was A True Friend of Socialism! His Films Weigh Many Kilograms!

[I have had two comments from friends.  Tom Barron saw some version in 1973 as a student at CalArts thus proving that whatever I saw in 1976 was certainly not the premiere in Los Angeles, or maybe they just claimed it was as a way of selling tickets.   

[Josh Pines of Technicolor tells me that Solaris in the 3.5 hour version is a masterpiece of the cinematic form and that I do not know what I am talking about.  Well, he may be right.  Or it may be that the difference between 3.5 and 8 hours is the difference between heaven and hell.  Film editing, you know, a part of the cinematic art form?  I stand by what I saw, which was complete fucking torture to the 23 or 24 year old who saw it.  That said, I volunteer to watch it again, an approved version of some length, particularly if it is on DVD or otherwise digital so I can skip around to the good parts].

[Josh also tells me that he can find no evidence of an 8 hour version of Solaris. This is very odd, and requires more research.   I will either have to find a library with the monthly Nuart notices back to 1976 or find a film expert online, or a relevant web site to post my question.  This is not a retraction, but it is a notice that there has been some doubt expressed that an 8 hour version existed.  I think I saw it but it was a hideously painful experience of unbelievable and unrestricted boredom, and very long ago.  I do not usually misremember things, but I sometimes misunderstand what I am seeing and thus remember something that did not happen as I recall it, a subtle point.  I have been known to confuse when something happened, e.g. what year it happened.  It may take a while, but the story of whatever it is I think I saw will become clear eventually and when I find out I will update this post.  ]   

I remember hearing in college that in a socialist society, there will be no racism, sexism or poverty. Even at the tender age of 17 I had a feeling that what I was hearing was total bullshit. But had that idealist speaking at that event said that "Under socialism, and with Marxist Leninist thought, the dialectic process will result in films that are devoted to the class consciousness of the proletariat, therefore the only judgement of a film that will be possible or necessary will be a quantitative measure. The film will by definition be "good", the only question is how much good, and that can be objectively measured by its length or weight".

This is an argument that clearly has merit and we are forced to consider it.

In the world of Science Fiction cinema, for many years there were only a few films that could be taken seriously by an elitist film snob, and I promise you that did not include "It Came From Outer Space", even though that worthy 1953 film was released in 3D which as we all know is a very essential quality of any important film made today, or in *any* period of the history of the cinema.

No, there were only a handful of films that could be taken seriously by an elitist and that could also be labelled science fiction, which was and to some extent still is a ghetto devoid of "serious" art as that is judged by those who judge. For example very few, almost no films, which were science fiction could expect to be written up in Cahiers du Cinema. But first among those would be Solaris (1972) by Andrei Tarkovsky.

Was Tarkovsky inspired by the great film "It Came From Outer Space"?

Solaris (1972) was the instant darling of the intelligentsia. Anything by Tarkovsky was, of course, but Solaris was acknowledged to be a world class masterpiece by all who saw it.  Sadly, very few outside Moscow, Berlin or Paris were able to see it.   In only a few years, a very short period of time by the standard of the day, this film did show in two cities in the United States, New York and Los Angeles.  I attended what was either the Los Angeles premiere or within a few days of that in its first run at the Nuart Theatre in West Los Angeles.

And yet, I can tell you that many people who think they have seen this landmark film have not done so. They have been fooled, fed an inferior product by well-meaning but fundamentally misguided individuals who have fallen from the Sociallist path. Many who think they have seen Solaris have actually seen the George Clooney remake. Yes, the film is so fabulous that it has earned its own remake, a true Hollywood compliment.

But no, you say, you actually saw the Tarkovsky original. Perhaps. How do you know that you really saw the Tarkovsky original? Can you objectively judge whether you saw the original, or some degraded lesser form designed for the corrupt American market which is so very concerned with the number of showings they can get of the film in a day?

I am just going to walk around in a big circle until I die !

Perhaps instead of seeing the original Tarkovsky film, you instead saw the pathetic worthless 2.5 hour version. No? I am glad to hear that, it would not be possible to squeeze Tarkovsky into 2.5 hours any more than we could squeeze our consciousness into 800 polygons.

Well, then perhaps you saw the appalling travesty that was the 4 hour version that toured the United States, that center of artistic compromise? And you think you should be proud of yourself for seeing this? Don't be so proud; what you saw was a very shortened version made for the kiddie market and others of short attention span.

I see, you perhaps saw the very limited run of the 6 hour version of this ultimate masterpiece? I am sorry to break this to you, but essential, even fundamental elements of the actual film were left out, to accomodate the need for Capitalist pacing and to compete with action adventure films starring Bruce Willis.

Can you say boring?   Ok, now say boring for 8 hours.

Sadly, we must laugh at the futility of those who saw these shortened versions, for they have not truly seen Tarkovsky's vision. What those of us present in Los Angeles and New York saw was the full, complete masterwork of 8 hours, untouched, unbroken, perfect, not a single frame of film removed which would have immediately and completely destroyed the aesthetics of this Socialist masterpiece!

What an experience it was.  Yes, even though it was in 1976 I can remember every moment of it. Totally captivated by the filmmakers mastery of technique, I was spellbound in tingly anticipation that at any moment something might happen, something, anything, might happen.   Please, could something please happen?   Perhaps some wild action such as an actor making a cup of coffee?  Anything, please, I don't care, please God make something happen in this movie!  Solaris had not less than 10, perhaps as much as 15 minutes of action jam packed into those 8 hours.   Compared to Tarkovsky, I thought, an Ingmar Bergman film would seem like one mad car chase after another.

I thought I was going to die of boredom.  This is your great intellectual Science Fiction masterpiece?, I thought to myself in the lobby, slamming down bad liquid caffeine and chocolate brownie units, trying desperately to stay awake.   Give me a one-eyed slime monster any day of the week, at least it isn't pretentious, just cheap.    

In terms of quantitative social realism, although I do not have the official numbers, we can say that this 8 hour masterpiece of the proletarian dialectic was so good that it measured not less than 13,167 meters in length and weighed not less than 97.956 kilograms thus proving Tarkovsky was a true friend of socialism!

I now have the exciting news that online friends of socialism and Tarkovsky may watch this masterpiece online: 

http://www.openculture.com/2010/07/tarkovksy.html

Solaris (1972) on IMDB

http://www.imdb.com/title/tt0069293/

It Came From Outer Space (1953) on IMDB

http://www.imdb.com/title/tt0045920/

Vast Thinking Vegetable Discovered on Mars! Scientists Attempt to Cover Up Truth!

On Oct 13, 1912, two and a half years after the approach of Halley's Comet to the earth, the Salt Lake Tribune's Sunday Section astounded the world with the announcement of a discovery on Mars of a giant thinking vegetable containing a single enormous eye.   You would think that such a discovery would have been published everywhere, but no, clearly the government in Washington wanted to suppress the truth because not only was the article not published anywhere else, but they even went so far as to issue flat denials.

Why is our government so intent on repressing news of the alien intelligent plant?  Is it perhaps because they want to hide the peaceful intent of the citizens of planet earth but co-opt the innocent plant into plots and intrigues our government has here on earth?

And why has the venal, untrustworthy scientific community not revealed this outrage against knowledge, why have they gone along with this conspiracy to repress the truth?   Perhaps they are not the selfless "searchers for truth" we thought they were.

I have reproduced this stunning article in its entirely as reported on the internet at the web link below.  Please spread the news as far as you can.  I wonder if our evil government isn't planning to spray DDT on this innocent and peace loving citizen of the galaxy?!

Original article is here:

http://zapatopi.net/blog/?post=201202207190.the_mammoth_eye_of_mars

Here is the pathetic response from some toady at the Lick Observatory trying to spread scorn on the article and so suppress the truth.

We must demand a full-disclosure of everything involved with the Giant Intelligent Vegetable from our government at once.  I hope you will join me in this crusade.  I will investigate what is involved in a FOIA request over the next few days.

The Museum of Forrest J. Ackerman

[Colleagues have asked, where is a picture of Wendy Wahrman?  When I get a suitable picture of Wendy I will post it]. 

Once upon a time I had met most of the working west coast writers of science fiction, or at least the ones who came to the Westercon, the west coast science fiction convention.  This was no big deal, pretty much anyone who attended Westercon could meet them, they were very approachable.  This included such authors as Harlan Ellison, Larry Niven, Poul Anderson and Jerry Pournelle, just to name a few. Someone I knew about, but had never met, was Forrest J. Ackerman.

"Forry", as he was known, was quite famous in that world. He was a pioneer and contemporary of Robert Heinlein and people of that generation, and had made a living as a writer, an editor, a publisher and a literary agent all in the area of science fiction.   Science fiction is to literature as puppetry is to theatre, it doesn't get much respect.   And it is very difficult to make a living as a writer of fiction no matter what genre the writer works in.   He published none other than "Famous Monsters" magazine.  He probably wrote the first ever story for Vampirella.

This is Vampirella in her pre-sex goddess form.  No kinky leather jumpsuit at this time.

Forrest was also famous in this world of science fiction for his vast collection of all kinds of memorabilia from the worlds of horror, science fiction, and fantasy.  Such items as Bela Lugosi's cape from Dracula, and the mask from Creature from the Black Lagoon. He collected with the passion and obsession of all great collectors and kept everything in a great old mansion in the Hollywood Hills.

To give you an idea of what we are dealing with here, consider this link, which has a scan of a letter from a 14 year old Forry to Edgar Rice Burroughs, and the reply from Mr. Burroughs.     

One day a good friend of mine, a pioneer of the ARPANET who lived in Palo Alto, and a fan of science fiction, asked me to arrange a tour of Forrest's mansion for him.  The idea was that I was a local, and he wasn't, so I should do this.    As it happened, I knew Mr. Ackerman's phone number, because everyone who knew science fiction knew his phone number.  It was (213) MOON FAN.

 So I gathered up my courage and out of the blue one afternoon, I gave him a call.

"Mr. Ackerman," I said, "my name is Michael Wahrman, but you don't know me, but we of course know of you and of your famous collection and a friend and I wanted to know if there was a time when people could come see this collection. Perhaps you might have an open house one day a year or something like that. If you do have a way for people to tour your collection, we would very much like to do so."

I can not begin to write in a way that expresses how Forrest Ackerman used to speak. I want you to imagine in your mind that his lines are being spoken by Boris Karloff in The Mummy (1932).

There was a pause on the other end of the line. Then he said "What is your name again?"

"Well, my name is Michael Wahrman, but I am pretty sure you have never heard of me".

"How do you spell that", he asked.

"Well, its spelled W-A-H-R-M-A-N, why do you ask?"

After a pause he said, mysteriously,  "You may come by, whenever you wish."

Well, that's odd, I thought.   But I made an appointment and my friend came to town and we went to this fabulous house somewhere in the Hollywood Hills and we were received by Forrest, shown around, and introduced to his lovely wife, the former Wendy Wahrman.   She greeted me with a fabulous Hungarian or perhaps eastern European accent saying "Ah, Wahrman.   An old family name.  From Hungary".

It is almost certain that Wendy and I were related. Its a very unusual name. Associated with a specific intellectual (jewish) elite of Europe. Only a few black sheep with that name came to this country, most of them were killed in the Holocaust, a few went to Israel, so you do not find many Wahrman's on this side of the Atlantic Ocean.

I am looking for a suitable picture for Wendy Wahrman Ackerman, but haven't found one yet.

I will always remember Mr Ackerman, now dead these many years, and his amazing hospitality to a total stranger, and with this fabulous voice, doing a perfect horror movie rendition: "You may come by, whenever you wish".

Wikipedia page for Forrest Ackerman:

http://en.wikipedia.org/wiki/Forrest_J_Ackerman

A link to a first edition of Bram Stoker's Dracula, signed by Forry, Christopher Lee, and many others.
http://turhansbeycompany.tumblr.com/post/33611652054/hotmonsters-panicbeats-forrest-j-ackermans