10 Terrifying Books For Halloween

Here’s a really good collection of unconventional books to read for Halloween. So pick one up, (or all of them), and prepare to be frightened. Best time to read them? Halloween night of course.

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Scary Stories To Tell In The Dark

You might remember these books from your childhood. I remember reading the first of these in elementary school and being scared out of what wits I’d managed to scrape together at age eight. The other two books in the series are less scary, but Gammell’s drawings  were always deliciously disturbing, and I loved them. Is this series just as effective when reading it as an adult? Yes!

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The Institute – Stephen King

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This is a horror novel for people who don’t like horror novels. I just finished this about a couple of weeks ago. While it started off kind of slow, and King really needs to stop writing any Black people into any of his books, until he can write us to sound like regular fucking people, I ultimately found it very satisfying. This is a story for people who think the Harry Potter universe wasn’t dark enough. In fact, this book slaps that universe in the face, kicks it a few times, and then electrocutes its gonads.  In other words, its got a lot of unpalatable stuff in it, including the (bloodless) torture of children. I listened to the audio-book version of this and some parts were hard to get through, and had I been reading it instead of listening to it, I probably would have put the book down and not finished it. What I can say, in King’s favor, is that the torture isn’t  gratuitous, and does serve the plot.

I don’t usually like the endings of King’s books, although I’m okay with the journey to get there, (I prefer his shorter stuff), but this had a nicely bittersweet ending, that made everything that came before it worth crawling through, and I appreciated it. The kids really did come across sounding and acting  like kids, too. Despite his complete inability to make Black people sound like, ya know, people, he really is pretty good at writing White people who are not men. The lead character is compassionate, smart as fuck, and brave, so that helped, too.

Warning for torture of children.

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Mystery Walk – Robert McCammon

This book is from waaay back in the 80s, and is a great Halloween read, as its one of the few pantshittingly scary books I remember fondly. McCammon writes dark Historical mysteries now, so a lot of people aren’t as aware of his Horror past, as perhaps they should be. He didn’t ever quite rise to the level of King, but his grand novel, Swan Song, is right at the top of apocalyptic fiction along with The Stand, as it should be.

Mystery Walk is about a young man’s journey to adulthood, after he finds out that he has inherited the ability to not only see and speak to ghosts, but he can lay them to rest by consuming their pain. There’s also another character with the same ability that is a dark reflection of him. The book builds up to their eventual confrontation, with one using his abilities for evil and gain, and being manipulated by a demon, while the other, having resisted the demon’s temptations, tries to save him.

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God’s Demon – Wayne D. Barlowe

This is another one of those journeys through Hell books. I have a whole collection of these. I love strong imagery in a book, and Wayne Barlowe, being an artist (who has done at least two illustrated books on this subject) is a master craftsmen. But its not just the images that grab you here, its the characters too, from the  repentant Lilith, to the foot soldiers of the demons major, Hell isn’t just made up of damned souls, and the unredeemable, as Sargatanas, one of Hell’s most powerful Fallen, fights a war to prove that he actually belongs back at God’s side, again.

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FantasticLand

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Okay, I got this book from NetGalley because the plot sounded like it might be funny. I thought it was going to be a satire about Disneyland or something.

This book was not funny.

This book was harrowing, but in a good way. I felt like I had been on a serious journey after I read this. Its not like the other books on this list, in that all the monsters here, are entirely human.

You might get the same idea that its a comedy or satire, as the basic plot is a  bunch of  young people get trapped in an amusement park called FantasticLand, during a hurricane, and over the next couple of weeks, all civility breaks down, as they start to hoard food, break into different tribes, and factions, and begin  warring against each other. In the meantime, they are still dealing with the aftermath of the hurricane, and the resultant flooding.

This is told in reports and interviews after the event. with the people who were involved, various rescue workers, and the media. So its an excellent use of the World War Z format, and unlike the Lord of the Flies book, there are plenty of women, there’s a lot more death, and some very clear reasons behind why everyone starts behaving the way they do, that’s beyond people just being stupid or bad. The book has a lot more depth than I expected, and is a more realistic depiction of how something like it could occur. What’s interesting is that even though the reason why the events happened were pretty clear, the public is still massively puzzled about why it happened.

I can;t praise this book enough, even though it was really hard to get through.

Warning for off-screen rape, and lots of ultra-violence.

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Nocturnes –  John Connolly

This is an excellent collection for Halloween, and one of my favorite anthologies. All of the stories here are straight up horror, ,and very well done. From Mr. Pettinger’s Demon, to the Inkpot Monkey,  with many of the stories consisting of people dealing with different types of demons, both real and imaginary. There are also a couple of really good monster stories, The Wakeford Abyss, and The Man From the Second Fifteen. It also includes a less horrific, but still pretty dark Charlie Parker story, The Reflecting Eye.

“Children go missing, lovers are lost, creatures emerge from below the ground and demons lurk in the shadows as Connolly, clearly having the time of his life, does his best to scare the wits out of his readers.”

 —Gold Coast Bulletin (Australia)

 

I also want to rec the sequel, Nocturnes II, Night Music, with its long form short stories, The Caxton Library, which is not horror, but still lots of fun, and The Fractured Atlas, which is deeply disturbing in a Lovecraftian sort of way. There’s also a fun Sherlockian story, where he meets the man who authored him. The sequel has fewer stories, but The Fractured Atlas more than makes up for the lack of scare in the other stories. Other stories of note are The Lamia, which is not about a vampire at all, and The Children of Dr. Lyall, where two men break into a house, and get trapped in alternate dimensions.

 

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We Are Where The Nightmares Go – C. Robert Cargill

The first story in this collection is one of the most unique zombie stories I’ve ever read. Cargill has this thing, where he can take a well worn trope, like zombies or ghosts, or even Indigenous mythology, and pull out some truly interesting stories, that are not like any other types of those stories. In The Town That Wasn’t Anymore, an entire town is so haunted, that most of its citizens are  afraid to go out at night. There’s a Sin Eater and a Soul Thief’s Son, and the title story is an Anti- Alice in Wonderland tale, as a  little girl goes through a doorway under her bed, and finds herself in a very dark world.

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The Haunted forest Tour – Jeff Strand

If a horror novel can be classified as Pulp, than this is it. I thought it was great, horrific, trashy fun, as a magical forest takes over several acres in America, when it pops out of thin air. The forest just happens to be haunted by every sort of monster that has ever inhabited a horror novel. The whole thing has a very Cabin in the Woods feel to it, right down to its  premise.

This is a story that’s best listened to rather than read. I did both, and the narrator for the audio-book does an excellent job of capturing the incredulity of the characters, and  the horribleness of the monsters.

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The Wide Carnivorous Sky – John Langan

Most of the stories in this collection would best be described as haunting. The first two stories are zombie stories but there is less of a focus on gore, and like any good zombie story, more of a focus on how the end of the world affects the survivors. The title story is, very probably, one of the scariest vampire stories I’ve ever read, not because the vampire is so frightening, although yes it is scary as fuck, but because of the mood. There is a feeling of dread in it that heavily reminds me of The Thing ,as a bunch of afghan vets deal, not just with the aftermath of the war, but the PTSD from encountering the vampire.

The Wide Carnivorous Sky is an excellent story to read on Halloween night.

You will be scaredt!

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The Scarlet Gospels – Clive Barker

If you’re a fan of Hellraiser, this chronicles what happened after the events of the second film, Pinhead’s journey across Cenobite Hell, and  his attempts to gain more power.  This is also good book for  fans of Harry D’amour from Barker’s The Last Illusion, as he travels to Hell to rescue a friend who gets caught up in Pinhead’s machinations, and their eventual confrontation.

This was a deeply satisfying book, but then Barker has always been able to capture me through the vivid imagery he presents, and the depth of his characters. I don’t remember many of the plot details but that is one of the dangers of reading a Barker book.

Warning for torture and rape scenes.

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Weekend Reading/ Feb. 22nd, 2019

The Matrix

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This isn’t a new theme, but I liked this little essay about how to enjoy movies with so much gunfire in them, in this age of daily mass shootings. How can we enjoy such scenes, and what makes these scenes different from the kinds of scenes we’ve see on our TV screens, on  a regular basis? And what type of role does such a scene have on the prevalence of mass shootings? Not in causing them, but in inspiring how they’re committed.

https://www.vulture.com/2019/02/reckoning-with-the-matrixs-gun-problem.html

 

 

Romantic Tropes

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There is however a real link between how Hollywood depicts romance, and men’s ideas of how romance is meant to be performed, and what’s considered romantic rather than abusive.

To be fair,women also receive toxic messages about romance, outside of what’s discussed in this essay, like the idea that women  can fix broken men, an idea so normalized in Hollywood, that it even shows up in romantic fiction written by women.

https://www.theatlantic.com/entertainment/archive/2018/01/when-pop-culture-sells-dangerous-myths-about-romance/549749/

http://www.collegehumor.com/post/7038172/hey-movies-this-isnt-romantic

 

 

 

Racist Vigilantism

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As to the event that happened with Liam Neeson a couple of weeks ago, in which he confessed to an event of racial vigilantism in his youth,  I think Roland Martin, from TVOne News, says it best. But the point also needs to be made that Liam Neeson was only doing what countless numbers of Hollywood films have encouraged White men to do in the protection of White women’s bodies, which is go out and harm men of color, beginning with Birth of a Nation.  Endless Action movies and Westerns are  predicated on the basic plot of : White man goes out and shoots people he thinks  are bad.

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Liam himself has starred in countless numbers of films in which he avenges the sacrilege, or deaths, of female characters. I’m disappointed, but not angry, at Liam, for doing exactly what he’s been told to do, since the invention of film media. White woman been hurt? Go out and terrorize some Black people!

https://www.thedailybeast.com/black-america-knows-white-avengers-like-liam-neeson-all-too-well?via=newsletter&source=DDAfternoon

 

 

Film Criticism Diversity

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Yeah, we’ve been talking about this for a minute.

https://www.vox.com/culture/2018/6/22/17466246/criticism-film-movie-diversity-annenberg-study-larson-blanchett-bullock-kaling

 

 

The Apocalypse

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The basic idea of this article is that common depictions of the apocalypse are just wrong. We already have examples of how people react in the event of massive life-changing events in places that have experienced natural disasters. So why don’t we ever see any of that in Apoclaypse style movies? In fact the people in those movies, especially Western films, all react the same, running trough the streets, burning, killing and pillaging. Along with the lack of bicycles after the apocalypse, showing people acting a fool, during the end of the world, just makes for more dramatic screen images, I guess.

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https://www.tor.com/2018/11/14/what-really-happens-after-the-apocalypse/

 

 

 

Misogyny

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This one discusses how the disparaging of romance novels, and Chic-Lit, is really just another form of devaluing women’s interests and hobbies, and I agree. I think there’s something to this. Anytime women show an interest in some thing, or engage in an activity, there’s a contingent of gatekeepers, and intelligentsia, who crawl out from under the world’s baseboards, to take a shit on everything from romance novels and coloring books, to scrapbooking and fanfiction, to TV shows and Ugg boots.

In fact, this very much pertains to all Pop culture media, for which women are the audience. Pay close attention to criticism of the kinds of hobbies and interests women engage in, vs, the kinds of interests engaged in by men, and see that you don’t find that much of it is negative.

 

https://thetempest.co/2018/03/09/entertainment/chick-lit-romance-bias/

 

 

 

White Nationalism’s Nightmare

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If you haven’t seen the movie The Girl with All the Gifts, then you need to check it out. This is an interesting analysis of what this movie means to those arguing that White Genocide is a thing. I gave a review of it on this blog.

https://racebaitr.com/2017/07/25/girl-gifts-nightmare-white-supremacy/

https://tvgeekingout.wordpress.com/2017/10/17/the-girl-with-all-the-gifts-2016/

13 Favorite Vampire Novels

Salem’s Lot – Stephen King

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I first read this book when I was about nine. It would forever influence how I read about vampires. I know there were vampire novels before this, and I even read a handful of them, but  none of them made the impression on me that this book did because it was the first time I’d read about what would happen if vampires entered the modern world of American technology and culture. These were not the Hammer/ Dracula vampires that I’d been watching on TV, and that struck a chord with me. You’ll notice a trend in the type of vampires I prefer, either the mindless hungry monster, or the thoughtful, erudite, wise old man.

Ben Mears is a writer that grew up in Salem’s Lot and has a traumatic history with the Marsten House, which looms over the surrounding town, and has itself, a sordid and tragic backstory. Arriving simultaneously is vampire Kurt Barlow, and his human servant. Its up to Ben to convince his friends and family that vampires are taking over the town before the town is destroyed.

I’m going to have to do a review of the TV mini series, as it contains some interesting messaging about xenophobia and  one of King’s favorite topics, which was heavily tackled in It, the secrets of small-town life. The book also touches on the limits of belief and faith in the fight against evil. I’m going to have to do a lot more reading on those topics before I can tackle that though.

 

The Light at the End – John Skipp and Craig Spector

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This book just knocked me out! I will always stan for this book, which is a great descendant of Salem’s Lot. It contains both the mindless hungry monsters I adore, and the thoughtful , but evil, old man vampire, who sets the entire plot in motion while he’s on holiday in America. The characters are wonderful, the vampire action is great. This is what happens when a human being, Rudy, who is already a major asshole, gets bitten by a vampire, and turned loose in New York City. This book was part of the Splatterpunk era of the 80s, and the  writers do not stint on the gore.

The major drawback to this book is the rampant homophobia, which I found very jarring, when I listened to the audiobook recently. It does have a heroic gay character in it (who doesn’t get killed), but the road up to that moment is pretty rocky, and I think the writers thought they were being  progressive at the time. If that’s something that’s a deal breaker for you, then by all means you should skip it. (Its just that I had forgotten about it, since I read this as a teenager.)

 

Vampire Tapestry – Suzy McKee Charnas

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This is one of those types of vampire that I found incredibly intriguing as a teenager. The vampire from this book is a ruthless, heartless, intellectual, who is without sentiment about his condition. No lush prose here. The vampire in this book is direct, pragmatic and without excuses for what he is. As far as he is concerned, he is a predator, born and evolved to feed on human beings, and everything he does  is nothing more than a masquerade  to that purpose. He doesn’t have long romantic stories of his previous lives, as he doesn’t remember any of them, because, as he says, he doesn’t need to, to fulfill his only purpose, which is feigning humanity to get human blood. This is the more scientific, biological strain of vampire, but one who is intelligent and self reflective, when called to be so. He also has no idea of his age, since he sleeps for several decades at a time, after a few years of wakefulness and feeding.

The story plays out in three acts. In the first, he is captured, and kept in a cell by a ruthless man wishing to make money from him. He escapes by emotionally manipulating the man’s teenage nephew. The most intriguing part of the book is the second act where, as a college teacher, he has a psychiatric session with a woman who figures out what he is, and he attempts to divest her of her romantic notions of vampirism.  In the third act, he believes its time for him to go back to The Big Sleep, after witnessing a stage play that arouses sentimentality in him,  something he considers a liability to his survival.

The book isn’t especially  scary, but it was a great introduction to the idea of an intellectual/scientific vampire.

 

The Vampire Lestat – Anne Rice

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I read this when I was maybe 18, and  I loved it. I’d never read anything like it. I followed Rice’s vampire series for several years, but since the over saturation of the market with vampires that are all ripoffs of Anne Rice, I’ve pretty much stopped reading them. That doesn’t make her original trilogy any less effective though. I can still pick up these books and become completely immersed n the lush world of 1800s Louisiana, now aided and abetted by images of Brad Pitt, and Tom Cruise, as Louis and Lestat. This book is one of the first times I encountered a child vampire, and while I was never into Claudia, as a character, all that much, she is very effectively written. To my memory no one had written about child vampires much before Rice.

 

 

Lost Souls – Poppy Z. Brite

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I’m not sure how to describe this book. The vampires are definitely vampires, but unlike any of the vampires mentioned above, although the closest resemblance is to the style of Rice’s vampires. But only the style. The book takes place in the modern day, and chronicles the coming of age of a half vampire named Nobody, who meets a trio of vampires, who have been killing their way across the Midwest, and one  of whom turns out to be his father, something he discovers only after having slept with him, because that is the kind of book we’re dealing with.

Dark, Gothic, and lush is really the only way to describe the writing style, and the vampires, here. The author, Poppy Z. Brite, was something of a Goth icon at the time this book was written, and this book was all the rage in those circles. I did not run in those circles, and quite frankly, I was mostly exasperated by the pretentiousness of that particular crowd, but that has no bearing on the book, which feels like a velvety nightmare. It can be a little hard to get into, at first, because the style is very dense, and the characters are  dark and kind of emotionally remote, but once you do, its a very satisfying read.

 

Fledgling – Octavia Butler

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I wrote about this book earlier. I was not new to Butler’s books when I read it, but some of the events in this book are very jarring, and I feel I have to give a heads up on what happens. The book addresses the topic of race from the viewpoint of a new type of vampire, who can walk around in daylight. She looks like a little girl, about twelve years old, although she is much, much, older, and yes, she is Black. Right off the bat, within the first couple of chapters, she has a sex scene with the grown man (White) who rescued her. I wasn’t expecting that to happen, even though all of Butler’s books are kind of disturbing, and I should probably have expected it.

There are several scenes of her sleeping with adults, and I had a hard time getting past this, but I was younger and more hearty or something, because I managed to soldier through it, to an actually satisfying conclusion. I have not read this book since, and wouldn’t, because I can’t get past those scenes, although I found the rest of the book intriguing, and engaging.

Because the vampire’s bites cause humans to become addicted to them, the vampires acquire a “stable” of people around them, and so does she. Up to this point, the idea of child vampires has mostly not been addressed in vampire fiction, and really I suppose it should. Anne Rice got around the issue by making Claudia asexual, but Butler tackles the topic full on, and takes it as far as she possibly can. If this is something too disturbing for you, then you can skip this one, because this is a very challenging book.

 

Anno Dracula Series  – Kim Newman

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The Anno Dracula books are like a vampire’s greatest hits series, where all the most famous vampires in historical fiction get a shoutout, in the chronicle of the life of  one Genevieve Dieudonne, a teenage vampire who was created in the 16th century, whose observances, and adventures with a secret society known as The Diogenes Club, make up the bulk of the novel. This is all intertwined with a Ripper type serial killer who is preying on vampires in Whitechapel, called Silver Knife.

This one of the most unique series about vampires being written. The rest of the Anno Dracula series is about what would happen if vampires were a part of the everyday history and  life of regular human beings, and how their presence would have affected historical events, politics, and pop culture.

In the first book, Dracula actually succeeds in taking over London and turning the Queen into a vampire. Vampires have all come out of the grave. They have culture and fashions and music of their own. Most humans seek to become vampires, if only to avoid being rounded up as food, and this has an effect on the poor of Whitechapel, and the question of how vampires can survive if they don’t curb their numbers. Victorian London is every bit as Dickensian as ever, but with the addition of vampires and vampirism causing even further misery.

This is a great book, if you can get past the writing style which is a bit wry. The rest of the series isn’t as good as the first book, but if you have an interest in the history of Pop culture you might want to check out Dracula Cha Cha Cha, which takes place in 1950s Hollywood.

 

 

Blood Price Series  – Tanya Huff

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This particular series was branched out into a lovely universe with the lead vampire of this series at the head of it. I like the mythology of the series, which just manages to skirt the edges of being a romance. Henry Fitzroy is  a great character, and a good foil for the lead female character, Vicki Nelson, but it was Vicki that first captured me. She had a voice I liked. She wasn’t over-romantic,or maudlin, and never talked about her clothes and shoes. She’s a tough as nails, female, private detective, done correctly. She’s tough without trying too hard, disabled without dwelling on it overmuch, stubborn, prickly, pragmatic, and when confronted with the supernatural, in the form of Henry Fitzroy: Vampire, she takes that, and all subsequent introductions with supernatural creatures, completely in stride. She eventually becomes a vampire herself, and while Henry keeps telling her that all vampires are loners, who can’t live together in the same territory, Vicky is stubborn enough to make it work.

I wasn’t too fond of the short-lived, Canadian television series, Blood Ties, but I think the dynamic between Vicki and Henry was pretty good, it wasn’t as good as the book, mostly because Kyle Schmid is very pretty, but no Henry Fitzroy, while Christina Cox perfectly captures Vicki’s personality. If you don’t want to read the books, then the series is close enough in style to the books to give you a good sample.

 

 

They Thirst – Robert R McCammon

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This was the second vampire invasion book I read, after Salem’s Lot, and I thought it was fantastic. I don’t think it was a particularly deep book, but it was a lot of fun, and most of that fun is in the reactions of people who begin to understand what’s happening.  McCammon does get one major thing right, just as I have always espoused, is that people for whom superstition and faith are a major part of their life, are usually the ones to catch on the fastest, and survive what’s happening. People who believe the evidence of their senses, and stop trying to apply rationality to what they clearly see is happening, are usually the ones who survive.

It wasn’t my first brush with the writing of Robert R McCammon, but it is a fondly remembered book, although the book is a little more dated, as it takes place during the height of late 70’s/80s Pop culture, so some of the characterization needs work. A lot of horror novels in the 80s, were written by straight, White men ,so many of them had some serious  issues with writing PoC, and gay, lesbian and transgender characters, in the sense that most of these depictions were abysmal, as White writers had  less sensitivity  about such groups than they do now, and you have to take that into account if you’re going to tackle some of these 80s books.

I said before, I believe McCammon was building on Salem’s Lot by taking the basic premise of that book to its logical extreme, and asking : What if Dracula came to the big city, rather than a small town? How might that story play out?In They Thirst, vampires take over the city of Los Angeles, and it mostly plays out very much as you think it does. There’s less emphasis on xenophobia, but there’s subsequently  more emphasis on city life, gangs, and how disbelief in the supernatural, and  the cynicism of city dwellers, aids and abets the vampire invasion. Its not as good as Salem’s Lot, because its simply not as deep, but its a game effort, and worth the read.

 

 

30 Days of Night

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I already wrote about this series.

30 Days of Night has since become an entire series of books, with crossovers with other horror comics, and a movie starring Josh Hartnett. The graphic novel is so much better than the movie, and the movie is pretty damn good. The atmospheric art of Ben Templesmith is a huge factor in how scary the first book is. I became a huge fan of Steve Niles after reading this.

What I would like to know is why no one had ever thought of this idea before, given the icy horror of the Arctic, and the loneliness and isolation? Some of the best, and scariest, movies and TV shows have been set in this environment, so why not vampires?

The way vampires are written today, most of them aren’t very scary at all which is why I love to hype up this series. This book actually had me on the edge of my seat the first time I read it, and I’m always going to be fond of the idea, if not the various execution of the idea, over the course of the series.

 

 

 

Sunglasses After Dark – Nancy A Collins

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This is one of my favorite series because it has one of the baddest female vampires to ever be written, and tackles the subjects of sexual assault and trauma in the creation of a new vampire. Sonja Blue’s creation as a vampire was so traumatic that her personality essentially split, with one half being an amnesiac vampire, that carries a silver knife and can walk in daylight, who  kills other vampires, and a monstrous version of her vampire self that she calls The Other. She’s a bit like a female version of Blade, although I do not believe she was based on that character.

The first book is about her coming to terms with what happened to her, and how that ties in with a typical 80s, Evangelical TV couple, who want to use her for their own ends. Over the next three books in the series, she hunts the vampire who made her, while getting into adventures with various men, children, and other supernatural creatures. Most of these books end explosively, and Nancy Collins has a knack for slowly building the suspense, coiling the plot tighter and tighter, until things have to pop off. She does not stint on the gore, but she isn’t trying to write like a guy, in the Splatterpunk tradition. You can definitely tell this novel was written by a woman. This is another 80s vampire, but her writing is less problematic about PoC and gay and lesbian characters.

Later in the 90s, at the height of the Vampire RPG games fascination, Collins wrote a crossover with Sonja, and the Vampire: The Embraced series, which I thought was very effective, considering that she is a very different type of vampire than the ones from White Wolf. (The title is A Dozen Black Roses, and the first four books are available as a set on Amazon.) She even wrote a crossover with The Crow series, in the anthology “Shattered Lives and Broken Dreams”. The later books are not as deep as that first but worth reading, and there are a number of standalone short stories, to get a taste of Collins writing style and introduce yourself to Sonja Blue.

 

 

Necroscope Series – Brian Lumley

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This book was  a favorite for the sheer inventiveness of the vampires in the story. In The Necroscope series, vampirism is a virulent disease that will attempt to survive at any and every cost, and even the most seemingly innocent interaction with the infected, who are cunning, vicious, and highly intelligent, can result in a person becoming infected. The genesis of vampirism is from a planet where it grows as spores (which look like tiny white eggs) in the planet’s swamp lands, and any creature can be infected and pass it on, often resulting in hideous hybrid creatures of man and animal. The infection transforms a person into a conniving, hungry, cruel and manipulative predator, which, even more frighteningly, is still fully capable of human emotions, like love and loyalty.

In the world of the vampires themselves, they were at war with one another until only a handful of long lived lords and ladies are left, living at the top of what few mountains are left behind, called Aeries, and they totally control the human population of the planet, using them for fuel, and food, and transforming them into monstrous, but useful creatures, like plumbing systems, and transport beasts. If you’re familiar with the work of Wayne Barlowe’s Hell series, this world is a close parallel, only slimier. Pretty much everything about Lumley’s vampires is maximally disgusting.

The Necroscope is a man named Harry, who  communicates with the dead, who love him. He and the dead are often the first line of defense against the encroachment of vampirism, as they often warn him in advance of infestations, and sometimes even leave their graves to help Harry, and his special government team of vampire fighters and psychics,  to fight them. If you can get past what I thought were unnecessary descriptions of the women, (Lumley has no idea how to write about women) and some inventive sex scenes, these are very enjoyable books, although the writer’s  florid, but stilted writing style may be hard for some people to get past, too. I know I had a minute getting past the writing style, but if your’e a big horror fan this series is worth it just for the imagery.

 

The Saint Germain Chronicles – Chelsea Quinn Yarbro

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This series is often referred to as horror, but there isn’t much horror in them, beyond the horrible activities that the vampire, St. Germain, has had to endure in his 30,000 year plus life. These are historical novels written from a vampire’s point of view which makes them different enough  to be of interest to me. St. Germain is a vampire who was definitely invented by a woman, think Frank Langella’s smooth, urbane, sophisticated version of in the 1979  Dracula. Since these books were mostly written in the 80s, I suspect that’s who Yarbro had in mind while creating this character, and that’s mostly who I picture when reading the books. Since she wrote this there has been a glut of historical vampire novels with characters not dissimilar to this.

In each book of the series, St. Germain travels to some new part of the world, falls in love, and has an adventure. The books were published in no particular order, and can be read in any order, as well. My personal favorite is Path of the Eclipse, a chronicle of his travels throughout Asia, from China, to Japan, to India and Tibet. Each chapter is often prefaced with an introduction to the life/lives of whatever new characters he will be interacting with, and  where he is, in the form of letters and/or documents. Yarbro manages to perfectly capture the world weariness of an incredibly long lived creature, that tries to hold itself aloof from human affairs, but keeps getting embroiled in various human dramas, often because of St. Germain’s deep well of compassion for the mayfly lives he interacts with.

If you love a well researched historical novel, with vampire, then pick up any book in the series, in any order.

Carrie Vs. Carrie (Part Two)

 

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I re-read Stephen King’s 1974 book, and I want to compare the 1976 movie version, which stars Sissy Spacek, and the the 2013 version, starring Chloe Grace Moretz, to the book version, because there are some significant changes from book to film. I’m going to argue that the book version still has not really been filmed yet. All of the significant high points are in the movies but there is also much that is absent.

One thing I’m unclear on is if King was trying to write a feminist manifesto. He says he wasn’t, and I don’t think he was, despite that he was writing his novel during feminism’s early years. His women aren’t perfect, and that’s the point. They don’t seem to be just some guy’s idea of women. They’re intelligent and decisive women,and King has a good grasp of their characters.The weakest character is Margaret White, but King has always had trouble writing about religious women. The caricature of Margaret White would eventually find her way into his novella, The Mist, as Mrs. Carmody, another murderously insane woman who wears a mask of religious piety.

One of the changes between the book and the films, and its something which always seems to surprise readers who come to the book after watching them, is that the entire novel is told in flashback, in the form of newspaper articles, interviews, and book excerpts. Even more surprising are the few chapters where Carrie gets to speak for herself, and we’re privy to her thoughts and feelings about her life, how she feels about her mother, her abilities, and her plans for the future.

Neither of the movie versions interpret Carrie, (Carrietta), entirely the way she is in the book. I hadn’t read this book for many years and I was struck by her self-awareness, and how vengeful she is, compared to the movie versions,(although the Moretz version seems smarter than the Spacek version of her, and is more deliberate in her intent), and I think this was an attempt to make the movie versions more sympathetic. The book version of Carrie is a harder, more vengeful, and more spiteful version than seen in either of the two films, although the remake comes close.

In neither movie do we get a sense that Carrie believes the way her mother believes, so I was surprised to note that in the book she does share at least some of her mother’s beliefs about religion. She hates her mother , the students who have always bullied her, and is a lot less nice a character than I remembered. Part of what motivates her vengeance, and her destruction of the town of Chamberlain, is her justifiable anger at years of being bullied by her classmates, coupled with Margaret’s teachings of a vengeful god.

The opening scene remains as depicted in the book in both films, except there is the addition of modern technology to the remake, as Carrie’s humiliation is filmed on Chris’ phone. In the original, Chris Hargensen seemed to be trying to make a statement by dumping blood on Carrie, although as played by Nancy Allen, she doesn’t seem quite bright enough to come up with that idea. In the remake, Chris (played by Portia Doubleday), does seem smart enough to come up with the idea, and makes the point of linking the two events by airing the shower scene to the Prom goers, in the aftermath of the blood dump. The newer version of Chris has less personality than the original version, however, coming across as just another generic “mean girl”. The Allen version seems to have more of an interior life, while the new version just seems mean and spoiled. In King’s book, Chris does have an interior life, but not much depth, and she and her boyfriend, Billy, come across as especially dimwitted.

The book goes into some detail about how often, and in what ways Carrie was bullied, and how she tried to break free of her situation from time to time, echoing King’s introduction, in which he tells the story of a girl he knew in High School who, like Carrie, fell at the bottom of the pecking order, and how that girl made an attempt to get free of it, only to be put back in her place by her classmates when her attempt failed. That is the foundation of the book, as this is exactly what happens to Carrie. She jumps at an opportunity to move out of the damned place into which she’s been cast by her peers. The Prom is Carrie’s last attempt to break free of her mother’s influence, and as she says, live a normal life, only to be humiliated once again. King also goes into some detail about Carrie’s thoughts on the intensely restrictive, and infantilizing existence her mother wants for her. Carrie imagines living the rest of her life that way, slowly becoming as frightened and bitter as her mother.

In DePalma’s movie, Carrie briefly mentions this to her mother only to be abused. This is another issue that doesn’t get a lot of play in the movies, the sheer depth of the physical and emotional abuse heaped on Carrie by her mother, and just how deep her mother’s insanity goes, although the first film comes the closest. There are a couple of scenes in the movie where her mother slaps her, and one where she throws tea in her face, but the horrible physical abuse, where her mother kicks her, at one point grabbing her by the back of her neck and flinging her into the closet, has been toned down, and is almost absent from the remake.

In the remake, Peirce has elected to show a very loving version of Carrie and Margaret’s relationship. Julianne Moore’s Margaret isn’t crazy just to seem crazy, and seems to genuinely love and care for her daughter. Even when she’s trying to kill her there’s no sense of the mad glee with which Piper approached the role. Moore’s Margaret seems regretful that she didn’t kill Carrie earlier, and takes no joy in harming her daughter. The result is that Carrie is genuinely surprised that her mother is trying to kill her as her mother had given no indication that she was considering it. This is not the same Margaret in the book, or the first movie, where Carrie and Margaret rarely touched, or showed affection for each other. They didn’t have normal conversations. Margaret threatened, and made pronouncements, to which Carrie acquiesced. Margaret gave orders, and Carrie followed them.

Another thing that’s been toned down for the movies is the depth Margaret’s madness. King’s version sees nothing positive in the world, and is obsessed with the sin of sex, and anything related to it. Carrie argues to her that everything isn’t a sin, but to Piper’s Margaret, everything is a sin. For Margaret, life itself is a sin. Even having sex with her husband is a sin. In the remake, this attitude is interpreted by the director as proof that Margaret experienced some horrific sexual trauma as a child. In the original film no reason for it is even implied.

The details of Carrie’s physical abuse are important because of an event from the book that has never been captured in either of the movies. The idea that Carrie was born with her abilities, that she had been suppressing them until a stressor occurred, and that her mother knew about her powers, and was afraid of her. The fall of the stones is an event recounted twice in the books. Once from a neighbor’s point of view and the second from Carrie’s point of view.

The fall of stones is precipitated by four year old Carrie seeing the neighbor’s daughter sunbathing in her front yard. Margaret, who had been feuding with the neighbors about it, saw Carrie talking to the neighbor, and lost it. She grabbed Carrie, hauled her into the house, beat her mercilessly, and threatened the little girl with a knife. Carrie, in her terror, causes a rain of rocks and ice to fall only on their house. The event is recounted in the local newspaper, and later, Carrie recollects the event herself, including the moment when she threw the dining room table through one of the windows of the house. Carrie wonders if her mother remembers the events, thinks she might, and knows her mother is afraid of her. The remake has an extended scene of Carrie’s remembrance of this event. This was cut from the theatrical release, and the mood of it is very different from the book version, as Margaret White’s reaction is much less extreme, and she is fully aware that Carrie is responsible for the golf ball sized hailstones, as she pleads with her to stop.

Carrie’s mother “seems” to know about her powers before Carrie uses them on her, but this is unclear. (This would have been made more clear, in the remake, had the excised scene been kept.) In the original, Margaret mentions wanting to kill Carrie when she was a child, but why is also not made clear. In neither movie are we given any indication that Carrie has used her powers before “discovering” them, at the onset of her menses.

One scene that did not make it into Depalma ’s movie is the confrontation between Chris’ father, and the school principal, who has threatened to suspend Chris from school. I enjoyed that scene from the book, and I’m glad it made its way into the remake. It’s also indicative of how much sympathy in which Carrie was held by many of the adults around her, and about which, Carrie is unaware. Ms. Desjardin, the gym teacher, genuinely cares about her well being, and the principal shows real backbone in his fight with Chris father, in seeing that justice is done on Carrie’s behalf. There is a scene in the original film where one of Carrie’s teacher’s is an asshole to Carrie, for no apparent reason, and I thought that was a bit much, but that scene is there to show Tommy’s character. That same scene is present in the remake, but the actor who plays Tommy is such a non-entity, that there is no illumination of the character.

In the book, Billy is just some thug that Chris is dating, and he cares not one wit about her, although in both movie versions, we are given to believe that he and Chris are involved in some grand, Bonnie and Clyde style, love affair. This is meant to contrast the sweet respectfulness between Tommy and Sue Snell.

The book version of Margaret White gets more backstory. The remake adds the idea of some sort of sexual trauma, making her a much more sympathetic character, while the 1974 version is more of a caricature than a real person. In King’s version, Margaret White was always a religious fanatic, who was estranged from her mother and father, and was prone to hysterics.The 2013 version of her depicts Carrie’s birth scene, and Margaret’s indecision about killing her, while none of these things are mentioned in the first film. As I said in my review of the first movie, it is mostly spectacle with not much understanding of the why of the characters. This makes sense since it was written and directed by men. There’s a bit more emotional depth in the remake ,and I believe that’s, in part, because of its female director.

The book consists of excerpts from a book written by Sue Snell, called My Name is Sue Snell, interviews of several town folk who survived Carrie’s rampage through Chamberlain, by something called The White Commission, a body of professionals who were convened to determine what happened during what the nation called The Black Prom. Sue and Tommy’s motivations are called into question by The White Commission, and there is some argument that Tommy was involved in the plans to humiliate Carrie.The movies mention none of the aftermath of these events. They both end with Carrie’s death, and the seismic impact of what Carrie did, the sheer amount of death and destruction is not captured in either film, although the remake comes closest to the images from the book.

The depiction of Carrie’s powers, is a little more accurate in DePalma’s version. She does appear to be in a kind of fugue state, and the book goes into detail about how the use of her powers affects her physically. She is mostly aware of what she’s doing, but becomes increasingly unhinged the longer she uses her powers, until by the end she is mostly delirious, and only half aware of where she is, let alone what she’s doing. After Carrie kills her mother, her powers are simply functioning on automatic. In the first film, the house falls down around her, while she holds her mother’s body, and DePalma makes it unclear if Carrie is doing it , or if it’s God’s retribution. In the remake, Chloe’s Carrie is very deliberately using her abilities, and has complete control right up until the end. Its not until the end of the 2013 version that we see the rain of stones, and this moment would have had more impact, if that earlier scene of Carrie remembering that event, had not been cut.

Margaret’s death in the original is all spectacle as she, pinned to a wall by kitchen knives, loudly moans like she’s having an orgasm. The book is more subtle, as Carrie gently stops her mother’s heart. The remake is not without spectacle itself, but I found it more moving than all the hollering in the earlier film. The first film isn’t particularly interested in the emotional relationships between all these women. Margaret White is a terrifying, but ridiculous caricature, and receives the kind of death that befits such an over the top portrayal. Julianne Moore’s Margaret is more subtle. She’s almost too subtle, and I have to admit, I prefer the jovial batshittery of Piper’s version, to Moore’s quietly morose insanity, even if I was more emotionally moved by Moore’s version.

Peirce’s version is also true to the book, as there is a last confrontation between Carrie and Sue. In the book, Carrie’s thoughts and feelings are being broadcast to anyone in the town. Sue is able to follow Carrie’s meandering progress through the town by following Carrie’s thoughts. She finds Carrie, exhausted and delirious, lying next to a tree, and holds her hand as Carrie’s thoughts spiral down into death.

In the original film, Sue’s act of compassion is jettisoned in favor of that jump scare this movie is famous for. Once again, DePalma chooses spectacle over substance. He seems to prefer camera trickery, something especially apparent during the Prom, when he goes to a split screen during Carrie’s devastation. This isn’t necessarily a bad thing, but the camera work has the unintended side effect of distancing the viewer from the horror of the moment, something which Peirce took care to avoid.

Peirce wants the viewer to sit with their discomfort. Her camera doesn’t look away from what’s happening on the screen. In the remake, Sue finds Carrie just after Carrie has killed her mother. Carrie is distraught, and starts to attack Sue, who pleads with Carrie for her life. For me, this was a more moving moment than the jump scare at the end of the original. Note that Chris Hargensen also pleads with Carrie for her life, but because she has always tormented Carrie without mercy, she receives none in return. I think Sue’s one act of atonement is probably what saved her life, just as Ms. Desjardin’s compassion saved hers.

I don’t want to give the impression that I dislike the first movie because it really is one of my favorite King films. It’s a beautiful looking film with an iconic soundtrack by Pino Donaggio. The newer version has nothing like it, and is mostly unmemorable. I don’t even have a problem with the eroticism of the teenage girls in that movie. It was the 70’s and that was to be expected in filmmaking at that time. Also, that sort of thing was considered liberating for women at that time in American film, as everyone was just coming out of a repressive studio system that only allowed certain types of nudity. The DePalma version also has a superior cast. Spacek, Irving, Laurie and Allen were simply much better actors, who were capable of selling all that spectacle without looking ridiculous. The best actor in the remake is Julianne Moore. Grace-Moretz and the others are just too young, and do not have the acting chops of those powerhouses from the 70s, but I forgive them because Peirce’s movie has a different, more emotional, agenda, which remains true to the spirit of the source material.

Now, if we could only get a happy medium between these three sources, we’d have the perfect Carrie.

Halloween Horrors Written By Women

The Lottery by Shirley Jackson

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The first time I read this story I was about 14. it knocked me for a loop. Needless to say, I should not have read the story at that age. It horrified me then and does so now, but it took adulthood to connect the parallels between that story, and my life in the US as a Black woman. I suspect that was why the story resonated with me so much.

 

The Shining Girls  by Lauren Beukes

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I had never heard of Lauren Beukes before this book, but checked it out based on a single review in Publisher’s Weekly. I was not disappointed. I think the real horror, at least for me, comes from the idea of snuffed potential. In Shining Girls, a serial killer travels through time, using an old dilapidated house, with a special key. His task is killing young girls who have some kind of special future. One of the girls discovers his secret, and begins hunting him instead, which helps to turn the Final Girl idea on its head.

 

Into the Drowning Deep by Mira Grant

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The precursor to this novel is the novella, Rolling in the Deep, about an attack on a sailing vessel by cannibalistic in-humanoid underwater dwellers, otherwise known as mermaids. The sequel is about a young woman investigating the death of her sister who was a passenger on that boat. I like mermaids, and I’m fond of stories about people being eaten by mysterious creatures they didn’t know existed, and while  there are plenty of books out there with demonic merpeople in them, this is the first time I’ve ever read such an engagingly gory book about them.

 

Fledgling by Octavia Butler

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The very first warning I must make about this book is that it is very difficult to read, as it does involve a child vampire having consensual sex with adults, right in the first couple of chapters.

If that is something triggering or enraging for you then probably skip this book. On the other hand, this is Octavia Butler we’re talking about, and there’s always a purpose behind what she writes. The events stem from the nature of who she is, and the culture she’s unknowingly a part of. I wasn’t warned. The primary character is named Shori, a genetic hybrid of a little Black girl  and a vampire, who is much older than she looks. She has to fight against the racism of the vampire race, The Ina, she wishes to become a part of.

 

Dreadful Skin by Cherie Priest

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Dreadful Skin is a novella by the incredible horror writer Cherie Priest, about a nun hunting a werewolf across the American South. Priest has written a lot of Southern Gothic horror, but I chose this one  because I love werewolf novels, and pistol packing nuns.

 

Sonja Blue Series by Nancy A. Collins

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I read this series waaay back in the nineties. Every now and then, I like to revisit some of the stories, and I’m still wowed by them. Nancy Collins has an incredible voice for her character, Sonja Blue, who is probably  her most famous. Sonja was transformed into vampire hybrid during a sexual assault, and spends the next several decades hunting the vampire who turned her.

There are several books and short stories involving Sonja, including a crossover book with The Crow, and a crossover  with The Kindred rpg novels. Sonja inhabits a horrific urban environment full of monsters and ghosts, but she is the top predator, as she is a total badass. The only vampire who can touch silver, and walk in daylight, she keeps her hunger for blood strictly controlled, but every now and then “The Other” (as she refers to her vampire half) breaks free, and serious carnage ensues.

 

The Hexslinger Series by Gemma Files

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Gemma Files has written the only Weird Western trilogy I’ve ever encountered that prominently featured, as its main character, an Irish, openly gay, gunslinging, warlock, named Chess Pargeter. It also features a Chinese witchgirl, a spellcasting, undead priest, Indigenous ghost talkers, spiders the size of horses that you can ride on, flyaway cities , and a trek through the Aztec underworld. It’s a journey.

The first book in the trilogy, A Book of Tongues, chronicles Pinkerton Agent James Morrow’s attempts to capture Chess’ outlaw gang of spellcasters, which includes Chess lover, Rook, who intends to release an Aztec hell on Earth, through a goddess named  Ixchel, with whom he made a devil’s bargain. If any of this appeals to you, then this is the series for you, along with a bunch of related novellas, but good luck finding those. The only place I’ve ever seen them is on Hoopla.

 

 

Feeding Ground by Sarah Pinborough

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Sarah Pinborough has never completely gotten away from her Horror roots, for which I’m glad, because she is an extremely effective writer of horrible events. Feeding Ground is the sequel to Breeding Ground, where a race of spider-like creatures, having bred in the bodies of women, have caused the destruction of human civilization. There’s  spiderpocalypse, intrepid survivors, and plenty of  “ewww!” If those subjects interest you…

 

The Quick by Lauren Owen

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One of the best Victorian vampire novels I’ve read in a good long while. When Charlotte’s brother, James, leaves their ancestral home and goes missing in  London, she heads out to rescue him, and discovers he has become involved in a blood-cult that might or might not be actual vampires. Lauren Owen has a beautiful writing style which makes an otherwise pedestrian story very engaging. I liked Charlotte, and I liked her brother James, and I was rooting for the two of them  during  their adventures.

 

The Hunger by Alma Katsu

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There are a lot of books and movies about The Donner Party, but Katsu’s books is one of the more effectively creepy interpretations of what happened to a group of settlers who, having become trapped in the Colorado mountains in winter, resorted to cannibalism to survive. I haven’t finished this book yet, I’m about half finished, but I am definitely feeling a chill.

White Men: The Pandering Pt. One – History

This is part one of my three part rant? essay? discussion? of racism in pop culture,  how for much of its existence, the demographic it was aimed at was middle class (sometimes Working class) White men between the ages of 17 and 40, and how this manifested in our entertainments. I can’t  cover everything, or even as much as I like, (for example Art and Sports I’m going to have leave out of this discussion. I’m not knowledgeable enough to speak on the Sports issue, and the Art issue is a separate topic of its own), but I’m going to try to cover as much as I can, in as  coherent a  manner as possible.
This first part will give a quick primer into how and why cultural tastes changed, and try to relate it to the culture  wars we’ve been witnessing in the last twenty years.
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White men have had a nice long run as the arbiters of this nation’s cultural tastes, in music, books, TV, and movies. I’m mostly going to talk about the last forty years of pop culture, although I do discuss the precedent for a lot of the bad behavior we’ve been seeing, throughout the history of popular culture.
Pop culture is something that impacts all our lives. It is the books we read, the music we hear, the TV shows we watch, and the movies we see. It is so ubiquitous as to be nearly invisible, and everyone participates in it, and is affected by it, (especially those who think they are not just because they got rid of their TVs.) And since its invention, it’s been entirely controlled by straight, White, middle-class, cis-gender (American) men.
When television  finally reached a mainstream audience in the 1950’s,  much of it was aimed at middle class, White audiences, the only people who could afford it, and it was largely family oriented. What wasn’t geared towards children, was geared towards middle aged men, (with a nod towards White women here and there) most of whom had just come back from the war, were entering the jobs market  again, and had families to support. This helped to create what we now call Primetime TV,  those two to three hours between getting home from work/commute, and going to bed at 11 or 12 at night. Most daytime television was actually geared towards women (and small children) who were being encouraged to leave the job market after the war,and  go back into and take care of the home. What we think of as the modern Soap Opera appeared around this time, and also show’s specifically geared towards small children like Howdy Doody, (which appeared in 1947), Lassie, and The Mickey Mouse Show.
During the 60’s though, many forms of media began to aim for teen audiences, but tastes were still led by the White middle class, and much of American  culture was aimed at appealing to them. Black artists, especially in movies and music, had their own venues and many of them did quite well, while appealing to Black audiences. Just like now, young white  people often appreciated and appropriated Black culture, and every time they did that, their parents hated it, forming counsels to suppress and demonize it. From Swing and Jazz in the 20’s and 40’s, to Comic books in the 50’s, to the beatniks in the 60s, to Rap music in the 80’s, every time young people latched onto some new pop culture interest, the powers that be (the White men that owned all of media) found a way to suppress that interest by casting it in a negative light, or appropriated it in order to mainstream it to a wider audience, to make money  for themselves.
In the 60’s, White adults lost the war against Rock music because Rock music was aimed at young Whites  who, by that time, were controlling the cultural tastes. Music was darker and edgier, with messages of social justice prevalent  in Folk music, and the topic of drugs and sex in Rock. These are the things young folk were interested in and the different media industries crafted product to appeal to the disposable income of straight, middle class, White teens and young adults.
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Television shows, while still consisting of largely sitcoms and Westerns, became edgier and darker, too. Many shows (such as Star Trek in 1963) began promoting messages of social justice and free love that was being espoused by young adults of all races at the time, and the Westerns and sitcoms of the 50’s, with their bland messages about moral authority, were joined  by  much darker police procedurals,  science fiction,  and detective shows. The plots and humor of these shows was more sophisticated and complex. Much of this darkness came about because of the violence against racial justice movements, coupled with a progression in technology. The handheld camera and the steady cam brought images of racial and social unrest directly into the home. Corruption in the White House, and the Korean and Vietnamese Wars brought images of wartime atrocity into the home as well.
By the 70’s, the battles against music, and (comic) books, and movies, had pretty much been lost. But new ones were beginning. There was the rise of Disco, a musical style that was created and promoted within social circles  frequented  by Black women and  Queer Poc, which arose out of the free love movement of the late 60’s, coupled with the Stonewall Uprising in 1969.
In the above article, Arthur Chu lays out a history of White male outrage, from the 1970’s, to now. What we’re seeing now, all the tantrums and harassment, and shitty behavior IS NOT NEW!  When White men don’t like the direction in which the pop culture is turning, they always go into a paroxysm of violent and antisocial behavior to correct that direction. It happened to Rock music in the 60’s, against Disco in the 70’s, against Lilith Fair in the 90’s, they tried (and failed) with Rock music again in the 80’s, and Rap music from the 90’s til now. Mainstream America hated beatnik poetry, comic books, and even tried to ban Harry Potter books, and they worked  hard to censor movies as well, until the studio system was overturned in the 60s, which ushered in a new wave of movies with social messages, sex, and violence, which they also roundly hated.
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It appears that every twenty years or so, we must all suffer through the existential angst of the next generation of entitled White males discovering they are not actually the arbiters of American tastes, as they begin to grow older,  and 20-25 years from now, we’ll probably  go through this all over again, over some new subject. Each successive generation of White men discovers, as they grow older, that corporations involved in Pop culture, that used to appeal to them,  are now  appealing and responding to younger, more progressive (and browner) audiences, and in each generation there is a backlash against that, that they ultimately end up losing, as they age out, and cease to be of relevance to corporate America.
We are also seeing a rise in generational resentment as Millenials come under fire for the destruction of industries previously appealed to by the Boomers and Generation X’ers of the 20th century, like the motorcycle and housing industries. This form of generational warfare is also not new. It happened in the 50’s, and the 60’s, with adults vilifying teenagers for liking Rock music, and again in the 80’s, when the generation that ushered in Rock music, hated the British New Wave, Punk, and Rap music flooding radio airwaves, along with their genderbending styles and fashions.
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In every generation, White men are exultant to win a handful of skirmishes in the culture wars, just as they were happy at their brief victory over Disco,  and their routing of the female led Indie Rock scene in the 90’s, (called Lilith Fair), but they always eventually lose these wars, (and they’re going to lose this one too, I suspect.) Disco survived to become Dance music in the 80’s. The destruction of  Lillith Fair resulted in a huge Indie music scene, led by marginalized people, thanks to things like digital music streaming, Vevo, and Youtube.
The progression of  pop culture goes hand in hand with the progression of technology, and the Internet  has thrown a monkey wrench into practicing their current  outrages, even as it has given them new ways to show it. Their “victims” can now push back in ways they couldn’t in the past, and can now also isolate themselves in “safe spaces”, away from their meddling. Ironically, those musical styles that didn’t receive quite as much cultural pushback, have faded into  obscurity, like Punk, and New Wave.
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White (male) prioritization existed before television and movies, but I want to talk about how Pop Culture and the various media have aided and abetted it. I’m going to talk about the history of White (male) Prioritization in Pop Culture, what it is, what it looks like, and how we all reached the point where White male fans are, once again, doing that thing that White men have always done, attempting to turn the culture in the direction that suits them, as they begin to age out, and their opinions become less relevant to the corporations that seek to ever appeal to younger and Blacker audiences.
This is an especially appropriate topic considering Nike’s new promotional stance behind Colin Kaepernick as their new spokesman. Nike knows which side of the  bread their butter is on, and they’re putting their money behind athletes like Kaepernick, Serena Williams, because they appeal to the younger, progressive, more inter-racial, and socially savvy Millenials whose dollar  Nike wants. It is Black and Brown people who are driving cultural tastes and have been for the last thirty years, (from the 60’s through to the early 80’s, it was primarily White teens. Probably in another twenty years the arbiters of cultural taste will be Latinos). Black has always been cool, but now there’s real monetary power behind that idea, and that shows in the way the country’s musical, literary, and visual tastes have changed since the 80’s.
Side Note: Violent White male cultural outrage  goes back much  further than Pop culture. It is well documented that during reconstruction, after the Civil War, White men went into a paroxysm of lynching and terrorizing of Black people, (the KKK was invented to do just that), and the same during/after the Civil Rights era, and after Brown vs. board of Education.  Every time PoC made any kind of social progress, Whites responded with violence. they reacted just as violently sometimes to changes in Pop culture, too. White men behaving badly, when society is not heading in the direction they want for  themselves, is as American as apple pie.
The move technically only affected South Carolina and Louisiana but symbolically gestured to the south that the north would no longer hold the former Confederacy to the promise of full citizenship for freed blacks, and the south jumped at the chance to renege on the pledge. The end of Reconstruction ushered in a widespread campaign of racial terror and oppression against newly freed black Americans, of which lynching was a cornerstone.
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White men (and not a few women) have spent a not insignificant amount of their time in this country finding (and making up excuses) to violently terrorize women and PoC. From lynchings, to the harassment of marginalized people in online spaces, to mass shootings, it all stems from the same mindset, the maintenance of White male entitlement and supremacy. But this maintenance of White supremacy has also taken many other forms over the decades. One of those methods is White Prioritization. White men have traditionally been the ones to define reality for themselves and everyone else. They got to create the narratives,  name the out-groups, and determine their life choices.
OPPRESSION
The systematic subjugation of one social group by a more powerful social group for the social, economic, and political benefit of the more powerful social group. Rita Hardiman and Bailey Jackson state that oppression exists when the following 4 conditions are found:

  • the oppressor group has the power to define reality for themselves and others,
  • the target groups take in and internalize the negative messages about them and end up cooperating with the oppressors (thinking and acting like them),
  • genocide, harassment, and discrimination are systematic and institutionalized, so that individuals are not necessary to keep it going, and,
  • members of both the oppressor and target groups are socialized to play their roles as normal and correct.

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The media (especially popular media) is often the  means of  disseminating this information throughout  the rest of society, (and the world) and one of the major ways this works is through:

White Prioritization:

To treat or consider as of greater importance than other matters.
The Entertainment Industry is entirely  owned and controlled by straight, White, cis-gender, middle-class men, from its creation, to its distribution, to advertising and consumption, and of course, men being men,  they would  prioritize their own interests, desires, and tastes, mainstreaming all the things they consider to be normal, while marginalizing everything and everyone  else.
*Stitch’s Media Mix outlines how White Prioritization is enacted in fandom:

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MaryAnn Johanson

about 3 years ago… “Did you honestly think that every poster showing a strong, handsome male lead holding a gun and getting ready to do some damage wasn’t designed to appeal to your need to feel and identify as powerful, and that making the lead actor white would make that connection easier?”

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*It is White men who get to decide what movies. songs, and TV shows will be a priority, and what everyone else will be watching and listening to, and the priority has always been for White men:
Casting Jordan over a white actor is pandering to black people and white guilt, as was casting Idris Elba as Heimdall in Thor. Making Ms. Marvel Muslim in the latest comic series is pandering to tolerance. Poison Ivy and Harley Quinn finally having their romantic relationship acknowledged as canon is pandering to the gay agenda. Michelle Gomez as a female Master in Doctor Who is pandering to feminists. So much pandering. Why must companies pander, oh why, screamed the straight white male whose only motivation is the unencumbered execution of art free from social issues and something something ethics in video-game journalism?
*It isWhite men who decide what roles will be played by whom, and in what movies:
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*It is primarily White men (with few exceptions) who decide whose stories are going to be told, who will be telling those stories, what gets said in those stories, as well as who is doing the saying, putting  words in the mouths of Blacks, Asians, women, and Queer people, or deciding if those characters will speak at all:
*These same men get to decide which movies will get made, receive critical acclaim, or win awards:
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*Publishing is not quite as bad although the situation is nowhere near parity, and there are still enough  White fan gatekeepers who will act foolish about various social issues:
*The music industry is almost as hopeless as the film industry. While there are increasing numbers of men of color calling the shots in this industry, so far all they’ve done is replicate the  intersectional version of sexism and patriarchy in the songs, performances, and music videos of the medium.
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*And as for the Gaming industry, White male Prioritization has been its watchword from the beginning;

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The Culture Wars

Basically, the culture wars we are witnessing today are not new. They have always been a part of American culture, and most often consist of Americans arguing among themselves over who gets to control cultural tastes, who gets to control the narrative and what is getting said. Whose voice takes precedence.

The ways in which these culture wars have been fought can manifest in different ways, but most often its through bullying, intimidation and violence from the dominant culture, after marginalized people begin speaking out about their representation (or in some cases, like with Disco, just enjoying themselves too much).  Sometimes this control is state sanctioned through censorship, banning of the items in question (like certain books), and even arrests, and lawsuits.

https://www.washingtonpost.com/news/theworldpost/wp/2018/08/03/culture-war/?noredirect=on&utm_term=.ae4a595344c7

And since I’m an intersectional ranter, I don’t want White women to feel left out. Over  the many decades, there have been more than a few White women (and even WoC) willing, and eager, to jump on whatever cultural outrage bandwagon that White men were able to dream up, often in an effort to “protect the children” from certain music, books, and movies. We witnessed this during the ‘Gay recruitment of children’ phase in the 70’s, led by Anita Bryant; the ‘Rock music is corrupting the children’ hysteria during the 80’s, led by Tipper Gore; and the ‘Rap music is corrupting our children’ phase during the 90’s, which was, rather unusually, led by a Black woman named C. Dolores Tucker.

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Lately, it has been a common refrain from white male fans that diversity and inclusion is “being shoved down their throats”. (Why this particular euphemism is so prevalent is an ironic mystery, especially when used to refer to LGBTQ characters in movies, books, and games).  Every time some dust-up in Pop culture is caused by White men being angry about the inclusion of marginalized people, into spaces they have always thought of as theirs, I am reminded of Samuel R. Delaney’s essay about Racism in Science Fiction, which was written waay back in 1998, but is especially relevant today:

 As long as there are only one, two, or a handful of us, however, I presume in a field such as science fiction, where many of its writers come out of the liberal-Jewish tradition, prejudice will most likely remain a slight force—until, say, black writers start to number thirteen, fifteen, twenty percent of the total. At that point, where the competition might be perceived as having some economic heft, chances are we will have as much racism and prejudice here as in any other field.

And he was correct, because this has happened in every part of the entertainment industry that White men had claimed as their own.

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In Music:

Music that was already heavily influenced, or created, by Black innovation, experienced increasing degrees of demonization by the mainstream public, only to later be accepted by that same mainstream when the source material was  deliberately appropriated by White performers, and its initial audiences reached full adulthood. This has happened with every form of musical genre created by Black artists. Young White people love it so much, that they can only respect it by taking it and making it theirs. Unfortunately, their appreciation has a tendency to result in the devaluation and erasure of those who originally created the style, such as happened with Rock music. We’ve been watching this happen to Rap music for the last 20 years, but its happened with other genres:

Jazz/The 1920s

Disco isn’t the first musical style to win White people’s ire, because it was being performed by groups of people they didn’t like, (although some Whites were fascinated by these new cultural sounds), only to be appropriated, and made famous by White performers later:

https://digitalcommons.iwu.edu/cgi/viewcontent.cgi?article=1069&context=constructing

White phonograph companies refused to record Negro jazz because of
the traditionalist opposition ~o jazz music in the general white population.
Traditionalists, usually Protestant middle-class Americans of Anglo-Saxon
ancestry, connected jazz to the Negro brothels, where it had first become popularin New Orleans. Milton Mezzrow, a jazz clarinetist, wrote that, in the twenties,Negro jazz “was called ‘nigger music’ and ‘whorehouse music’ and ‘nice’ people turned their noses up at it.”6 They refused to accept jazz because they believed it was immoral.

The Blues (1960s)

https://www.shmoop.com/blues-history/race.html

Phillips played an instrumental role early in the careers of the bluesmen Howlin’ Wolf and B.B. King, but he is best remembered for being the first to record Elvis. One of the most repeated quotes in the history of American popular music is Phillips’ fateful musing that if he could “find a white man who had the Negro sound and the Negro feel, [he] could make a billion dollars.”16

That man, of course, turned out to be Elvis Presley.

Rock Music (1950s)

Often, White people treat other cultures as if they were the local Stop and Rob. The internet makes it so much easier for them to eavesdrop on other cultures, watching closely to see what cultural nuggets they can mine from marginalized peoples, from food, to hairstyles, to language, and they pounce the moment they think they’ve found something that can be White people’s newest hot take on…whatever. Incidentally White people never call any of this appropriation. They like to call it “sharing”.

http://www.slate.com/articles/arts/music_box/2016/10/race_rock_and_the_rolling_stones_how_the_rock_and_roll_became_white.html

—Harper’s magazine published an essay by future Pulitzer Prize winner Margo Jefferson titled “Ripping Off Black Music.” The piece was partly a broad historical overview of white appropriations of black musical forms, from blackface minstrel pioneer T.D. Rice through the current day, and partly a more personal lament over what Jefferson, a black critic, had come to see as an endless cycle of cultural plunder. The article’s most striking moment arrived in its penultimate paragraph:

The night Jimi died I dreamed this was the latest step in a plot being designed to eliminate blacks from rock music so that it may be recorded in history as a creation of whites. Future generations, my dream ran, will be taught that while rock may have had its beginnings among blacks, it had its true flowering among whites. The best black artists will thus be studied as remarkable primitives who unconsciously foreshadowed future developments.

And that’s exactly what happened, as almost nobody remembers that Rock music was invented by Black artists.

Disco (1970s)

Another one of the forerunners to our current culture war was White male outrage at Disco Demolition Night in 1979. Disco was a music primarily engaged in, and created by, Hispanics, Blacks, and Women. Until this too was appropriated by groups like Abba and the Bee Gees, White men raged an all out assault against this music they felt didn’t speak to or represent them.

This resulted in a full-on riot at Comiskey Park in 1979.

https://aeon.co/ideas/the-night-when-straight-white-males-tried-to-kill-disco

http://daily.redbullmusicacademy.com/2016/09/disco-demolition-introduction

http://www.bbc.com/culture/story/20180403-why-disco-should-be-taken-seriously

Rap Music (The 80’s)

There was also a White backlash aimed at Rap music, when it was reaching popularity in the late 80’s, and there were many attempts to brand it as demonic, illegal, immoral, and therefore worthy of censorship :

https://www.thedailybeast.com/when-nwa-terrified-white-america

The Great Rap Censorship Scare of 1990 – Medium.Com

View at Medium.com

In Gaming

This culture war began  with Anita Sarkeesian (2012), who only had to make the announcement that she wanted to critique gaming from a feminist perspective. This eventually morphed into Gamergate, which pulled in  more women who were involved in gaming (2014), and eventually this  formed the backbone of the Alt-Right. The culture that harassed Anita Sarkeesian in 2012,  is of the same 4Chan mindset that birthed  the current ongoing campaign of harassment of women of color, Queer people on social media.

https://www.newstatesman.com/blogs/internet/2012/06/dear-internet-why-you-cant-have-anything-nice

(There was a second article by this writer detailing some of the harassment that Sarkeesian endured, which I have not linked to, because it contained violent and pornographic images of her.)

https://www.vox.com/2014/9/6/6111065/gamergate-explained-everybody-fighting

https://www.cnet.com/news/gamergate-donald-trump-american-nazis-how-video-game-culture-blew-everything-up/

In Movies/Fandom

Actor Harrasment

Since Hollywood has been listening to marginalized people, and begun the barebones acknowledgment of other audiences besides White men in their narratives, there has a been a concerted backlash against many of the actors involved in diverse, or  race and genderbent TV and movie productions, and characters, with Candace Patton from  the CW series The Flash, Kelly Marie Tran from The Last Jedi, and Leslie Jones from the all female  Ghostbusters of 2016, being the forefront. This has continued with Ana Diop, a Black actress who was cast as an alien named Starfire on the CW’s Titans TV series.

https://www.vox.com/culture/2018/6/5/17429196/kelly-marie-tran-instagram-deleted-harassment-star-wars-rose-last-jedi

https://www.thecut.com/2016/08/a-timeline-of-leslie-joness-horrific-online-abuse.html

https://www.themarysue.com/candice-patton-asleigh-murray-racist-backlash/

https://www.vox.com/2018/7/27/17618954/teen-titans-starfire-racism-anna-diop

https://www.forbes.com/sites/janetwburns/2017/12/27/black-women-are-besieged-on-social-media-and-white-apathy-damns-us-all/#7e22ea9e423e

In Publishing/Comics

The Rabid Puppies/Science Fiction

In the SciFi/Fantasy genre of publishing there has been a meltdown from writers who, just as Samuel R. Delaney stated, feel that there is TOO much diversity in the genre, that as straight White men they’ve been ignored, and that the genre has been taken over by SJWs, who are only giving awards to the like-minded. The less radical version of this group is called The Sad Puppies.

http://www.jimkelly.net/blog/2018/2/3/dont-read-the-comments

There has always been a certain level of diversity in comic books, but in the past five years Marvel and DC have made an all-out push for gay, transgender, Black, Asian, Muslim and other characters as the primaries in their own stories. A number of ” Legacy” characters have been replaced by women and PoC. Iron Man is now a Black woman named Riri, Thor, Wolverine and Hawkeye were replaced by women, Spiderman is now a young Black man named Miles Morales, Captain America has been replaced several times by Sam Wilson,  several DC characters, like Poison Ivy and Harley Quinn, have come out of the closet, The Hulk’s new name is Amadeus Cho, the smartest person in the universe is a little Black girl named Lunella Lafayette, and one of Marvel’s biggest selling books features a Muslim girl in the role of Captain Marvel.

https://www.macleans.ca/opinion/the-culture-wars-come-to-comic-books/

High-profile writers of colour like Ta-Nehisi Coates and Roxane Gay joined Marvel’s roster of creators. In response, Marvel and those creators have faced online harassment. “They are legitimately frightened by harassers who threaten to come and find them at conventions, at stores, at their homes,” wrote comic legend Mark Waid in a Facebook post. “One was told she should be burned to death. Another was told that she should be put down like a dog. And those are examples of some of the less hateful attacks.”

https://blogs.canterbury.ac.uk/expertcomment/comicsgate-backlash-and-the-future-of-the-comics-industry/

https://www.thedailybeast.com/comicsgate-how-an-anti-diversity-harassment-campaign-in-comics-got-uglyand-profitable

Books and Magazines

Fireside Publishing has an entire series, titled The BlackSpecFic Report, which gathers the numbers on how  Black writers are being published less often than White writers, in speculative fiction, along with a series of articles by Black writers discussing how the problem manifests, and how it can be remedied.

https://firesidefiction.com/blackspecfic

https://firesidefiction.com/blackspecfic-2015

http://blacknerdproblems.com/fireside-and-fiyah-bringing-visibility-to-black-writers-in-speculative-fiction/

“Just admit your market’s discerning tastes skew colonial and that you’re fine with it, but stop insisting that apparently 100% of the stories you receive from Black writers just aren’t good enough.”

Comedy

Even Comedy has experienced a backlash from (primarily) White male comedians who have found that the version of comedy that may have launched their careers, has no place among today’s audiences. Thye complain that audiences have become too PC, and that not laughing at their old jokes is a form of censorship.

https://www.vice.com/en_us/article/gqm5wj/a-history-of-political-correctness-killing-comedy-615

https://franklycurious.com/wp/2015/06/18/whiny-comedians-are-just-growing-old/

https://www.laweekly.com/film/old-irrelevant-comedians-whine-about-censorship-in-can-we-take-a-joke-7169509

Some of these backlashes against cultural change are still ongoing, while some were lost long ago. I wanted to give short primer on the history of the Culture Wars, how it isn’t a new thing, and that this too shall pass, most likely to be replaced by some new one in about ten to twenty years. It is almost always generational in nature with the previous generation taking some crude stance against against a younger more Progressive generation. In this NY Times article the author compares two backlashes, from two different eras, and their similarities.

In the second part of this series, I’ll discuss how White Prioritization manifests itself within the narratives we consume, sometimes in ways that are invisible to the viewer.

Random Conversations on Tumblr

 Just some of the conversations I’ve been reading, and sometimes participating in, on Tumblr. Incidentally, you should check out my Tumblr page. It’s a bit different from this one, in that I post more about politics, and social issues, along with more casual things like goofy animals, and silly discussions.

Robots and Race

* The TV Series Humans has just finished its third season, and quite a number of fans are unhappy. I watched the second season and noticed that race wasn’t much talked about, although since many of the robots featured depict different races, it should have.
The star character for some of the major plotlines was Gemma Chan’s, Mia. She was killed in the season finale, and fans felt some type of way about that. I didn’t watch the third season because I had gotten bored with the show.
But something in EAWS’s essay, about how Mia was treated on the show, and the third season’s approach to racial issues, prompted thoughts from me about how the subject of racism is depicted in science fiction/fantasy shows, especially when the writers are White. I’ve noticed that they are often not honest about White culpability in the invention of modern racism.
I’ve been noticing this trend, and I had some things to say about.
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Humans is one of those shows that is racially diverse on the surface, but in reality is very safe, very white-centric (yes, even with having Mia and Max in the main cast).

“Äkta människor”, the original Swedish show had its own problems with writing the characters of color,  but it was always very clear that the in-universe “Real Humans” (”We are People”) movement was a direct parallel to the white supremacist, anti-immigrant alt right groups / political parties, and all their members were portrayed by the white actors.

Humans, however, while also pretending to be a sci fi allegory of real life racism and xenophobia, makes sure that for each bigoted white character there’s always a Bigoted Character of Color. Just a few examples –

  • a random Black man, a member of alt-right “We Are People” movement, in s1 holding an anti-synth banner and shouting anti-synth propaganda;
  • Thusitha Jayasundera’s Neha in s2 was leading a case against Niska, yes, she went through massive character development in s3, and became an active synth rights supporter, but in her own words, she changed her views mainly because of Laura (a white woman);
  • a xenophobic anti-synth cameo character played by Naoko Mori in s2;
  • Ed’s bigoted Black friend, who persuaded Ed to sell Mia (which in turn made it easier for the writers to redeem Ed in s3 – “Ed wasn’t a racist who dehumanized his girlfriend of color, he was just a weak man, who followed an advice from his Black friend, it’s the Black friend, who is the /real/ racist” – that’s the writers’ message here);
  • a Black woman police officer, who profiled Mia in s3;
  • a random Angry Black Woman on the street, that attacked Mia in s3;
  • a Brown Muslim politician on the Synth commission, that was presented more anti-synth, than a white guy, who lead the commission (s3);
  • an anti-synth Brown Head of the Police, member of the commission;
  • an unnamed Black man leading the human supremacist group against the synth compound, targeting Max and Mia (3×08).

Once is an accident, twice is a coincidence, third time is a pattern, as they say.

  Keep reading

What was the point in changing what was basically a white nationalist into a Black xenophobe? Intersectional bigotry exists, yes. But white writers of Äkta människor managed to show intersectional bigotry through white characters – they had xenophobic white gay character and a homophobic white hubot/synth, they even had a weeb. Brown writers of Cleverman showed intersectional bigotry through Koen (in s1) and Waruu West in s2. But when white writers prefer to show Black and Brown characters as the “real” racists (like Sense8the only reason for that is that the writers don’t want to touch the subject of white supremacy because it makes them uncomfortable. *

I love this, and I just want to piggyback a little bit off this post for a minute:

This is one of the major reasons why I dislike racism allegories written by White writers. They often, and very deliberately, get these allegories wrong by trying to equate racism and white nationalism, with “reverse racism” (which is not a thing, btw). They often do this by casting PoC as virulent racists against whatever out-group is the stand-in for a marginalized group in the narrative, whether its robots, supernatural creatures, or aliens.

I’ve seen this happen in a lot of fantasy, and sci-fi narratives written by White writers, who are attempting to lecture their audience on how bad racism is, all while trying never to acknowledge the elephant in the room: That our current model of racism, they are riffing on, was invented by White people.

They often make these virulently racist characters Black as well. In Heroes, the nasty racist, who wanted to kill all heroes, was a Black woman, who actually killed children. In District 9, the African characters were racist against the aliens, monetarily prostituting them, exploiting them, and even cannibalizing them, (which is a whole other nastily racist trope about people from the African continent, that I simply cannot believe no one caught.) In the X-Men/New Mutants TV Series, The Gifted, you have a Black man, as a member of the government, hunting down the mutants, to put them in concentration camps, and in Teen Wolf, you have a Black woman who wants to destroy all supernatural creatures, and yet again, advocates killing children to accomplish her goal.

It’s even worse when sometimes these are the only Black characters in the entire narrative, or worse yet, Black women.

There is already a dearth of Black women in fantasy and sci-fi media, so Black women being cast in these roles (of killing children) is an especially nasty trope, that needs to fucking die, especially when you consider that it is real life Black women, who know, above all else, what it is like to lose their children to violence, and are working hard right now to protect their children from things like gang violence and police brutality. Real life Black women work damn hard to counter the very narratives these characters are advocating in these shows. To then cast these (always dark-skinned, with natural hair, because its simply not enough that they be Black) women as the advocates and killers of children, in these shows, is an especially insulting slap in the face to Black fans, as Black women are some of the hardest fighters against racism and sexism, being so often on the receiving end of both, and to keep seeing them cast in these roles is more than a little enraging.

I know the point the writers are trying to make is that there’s racism on all sides and that anybody can be racist, but that message is more than a little self-serving, especially when you consider that it is only White writers who tout this message, in their allegories about bigotry. So, not only are they appropriating our stories of oppression (all things that have been done by Whites to everyone else) to use for non-human beings, but casting PoC in these roles as the oppressors, because they want to express the idea that that type of racism and bigotry is an equal opportunity position. By doing that, they thereby remove themselves from collusion with the issue and relieve their own guilt.

 

Source: 

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*And then there’s this problem, which is seen in every scifi/ fantasy racial allegory from True Blood, to Zootopia, to Bladerunner, to Bright, to The X-Men……… 
Yet it’s the kind of parable that turns up over and over again in science fiction and fantasy stories that are reportedly trying to convey a message of tolerance. “Look, we get that you’re having trouble seeing minorities as humans, so perhaps it would help if you imagined them as something that is A) objectively not human and B) inherently dangerous.”…
…What makes it worse — and weirder — is that writers can’t resist giving these marginalized groups some kind of superpowers, which in turn actually gives the fictional society a legitimate reason to fear them.

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Science Fiction Genre and Race

 *White writers also have a tendency to be lacking when it comes to imagining futuristic depictions of race, often simply reproducing the same racial issues (and many of the same stereotypes) that exist right now. The situations of various PoC simply never changed. We’re still sassy sidekicks, living in poverty, model minorities, or just erased.

https://psmag.com/social-justice/welcome-to-the-post-racial-future-its-still-pretty-racist

Altered Carbon presents a world that looks post-racial, and in which humanity has escaped from identity, and identity politics, once and for all. But even when bodies are interchangeable commodities, certain bodies are treated as having more value than others. for the greater profit of rich people and white people, and especially of rich white people.

 

I’m surprised a film of this magnitude and of this scale decided to show one of the most regressive and most racially-charged images I’d seen in a while; replicant Luv (Sylvia Hoeks), the replicant assistant to Niander Wallace (Jared Leto)  is shown getting her nails electronically altered by a small Asian man, whose hunched over, deep in his work.

The stereotype of the Asian nail salon tech has made its way into the future.

 

 

https://www.theatlantic.com/entertainment/archive/2014/03/-em-star-wars-em-and-the-4-ways-science-fiction-handles-race/359507/

 Sci-fi likes to believe it can imagine anything, but, especially in its mainstream incarnations, it’s clearly a lot more comfortable imagining race in contexts where the topic is dealt with obliquely or simply not mentioned or foregrounded. In this area, Hollywood adventures are strikingly timid. 

 

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Black Feminism

*Discussion of Black women as love interests. By saying that Thor is only interested in Valkyrie, as a heroic figure, it  is akin to saying she’s a strong, independent, Black woman, who don’t need no man, and how this does not take into account intersectional femininity:

Image result for black women saviors
The Problem with Valkyrie Being Simply a “Hero” to Thor

So…I get not everyone is going to understand this, especially if someone is not a Black woman and doesn’t have our experiences, so I’m going to try to lay this out as nicely as possible and try not to come off too harsh.

I’m going to start off with a quote from Alice Walker:

“Black women are called, in the folklore that so aptly indentifies one’s status in society, ‘the mule of the world,’ because we have been handed the burdens that everyone else–everyone else–refused to carry. We have also been called ‘Matriarchs,’ ‘Superwomen,’ and ‘Mean and Evil Bitches.’ Not to mention ‘Castraters’ and ‘Sapphire’s Mama.’“

You see, Black women are expected to be the “hero” of someone else’s story. We’re expected to be “the help.” The “mystical hero.” The “sassy friend.” We’re always there to help out the lead, but we’re never the love interest.

Chris Hemsworth has said himself that Thor is “smitten” by Valkyrie…when you disregard that and say she’s simply his hero and that it’s refreshing that he’s not admiring her in a romantic way, you are confusing your experience as a non-Black woman with ours.

Black women have historically been masculinized and fetishized. We’re either seen as too unattractive for love or too sexual to be romanticized. So, when we are put on a pedestal as a hero, it’s not at all refreshing. It’s the same ol’ same ol’. Now, being adored and loved? That’s something Black women never get to see for themselves.

It’s something that has slowly been changing, but the more it changes, the more pushback is given in response. CW’s Iris West is nitpicked as a character for the silliest things while the fandom constantly ships Barry with Caitlin, a white character who has shown no interest in him or vice versa. Even the actress cannot escape the anger from fans who prefer the lead be paired with a white woman. She faces constant harassment on her social media on a regular basis.

So, while it might be revolutionary for white female leads and other non-Black female leads to be looked at like heroes rather than love interests, it’s not so much for Black women. So rarely are we given the message that we too can be worthy of love. Please tread carefully when you suggest that a Black woman being seen as a man’s hero rather than love interest is “refreshing.”

 

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Humorous Interlude

 

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*The discussion, on the adoption and care of the Roomba, continues: 

 gaymilesedgeworth

after i move i really wanna get a used roomba

 

gaymilesedgeworth

biggest-gaudiest-patronuses

just remember they’re social animals and should always be kept in pairs, don’t get a roomba if you aren’t prepared for that responsibility

 

fireheartedkaratepup

That’s a common misconception. Roombas do perfectly fine on their own if you spend quality time with them! They group together in the wild for protection, but when they have no natural predators in the area they often choose to live alone.

 

biggest-gaudiest-patronuses

i didn’t know that! do you have any advice on roomba breeding and the problem with parent roombas’ tendency towards eating their young?

 

ironbite4

……..I’m nuking this entire hell planet from orbit.

 

biggest-gaudiest-patronuses

even the roombas?

 

ironbite4

The roombas are coming with me.  Can’t let them stay with you crazy people.

 

Source: gaymilesedgeworth

 

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Representation

*I loved this speech about the importance of representation and inclusion:

Rick Riordan won a Stonewall for 2017

rosetintmyworld84

 

Rick Riordan was awarded the Stonewall Book Award for his second Magnus Chase book, due to the inclusion of the character Alex Fierro who is gender fluid. This was the speech he gave, and it really distills why I love this author and his works so much, and why I will always recommend his works to anyone and everyone.

“Thank you for inviting me here today. As I told the Stonewall Award Committee, this is an honor both humbling and unexpected.

So, what is an old cis straight white male doing up here? Where did I get the nerve to write Alex Fierro, a transgender, gender fluid child of Loki in The Hammer of Thor, and why should I get cookies for that?

These are all fair and valid questions, which I have been asking myself a lot.

I think, to support young LGBTQ readers, the most important thing publishing can do is to publish and promote more stories by LGBTQ authors, authentic experiences by authentic voices. We have to keep pushing for this. The Stonewall committee’s work is a critical part of that effort. I can only accept the Stonewall Award in the sense that I accept a call to action – firstly, to do more myself to read and promote books by LGBTQ authors.

But also, it’s a call to do better in my own writing. As one of my genderqueer readers told me recently, “Hey, thanks for Alex. You didn’t do a terrible job!” I thought: Yes! Not doing a terrible job was my goal!

As important as it is to offer authentic voices and empower authors and role models from within LGBTQ community, it’s is also important that LGBTQ kids see themselves reflected and valued in the larger world of mass media, including my books. I know this because my non-heteronormative readers tell me so. They actively lobby to see characters like themselves in my books. They like the universe I’ve created. They want to be part of it. They deserve that opportunity. It’s important that I, as a mainstream author, say, “I see you. You matter. Your life experience may not be like mine, but it is no less valid and no less real. I will do whatever I can to understand and accurately include you in my stories, in my world. I will not erase you.”

People all over the political spectrum often ask me, “Why can’t you just stay silent on these issues? Just don’t include LGBTQ material and everybody will be happy.” This assumes that silence is the natural neutral position. But silence is not neutral. It’s an active choice. Silence is great when you are listening. Silence is not so great when you are using it to ignore or exclude.

But that’s all macro, ‘big picture’ stuff. Yes, I think the principles are important. Yes, in the abstract, I feel an obligation to write the world as I see it: beautiful because of its variations. Where I can’t draw on personal experience, I listen, I read a lot – in particular I want to credit Beyond Magenta and Gender Outlaws for helping me understand more about the perspective of my character Alex Fierro – and I trust that much of the human experience is universal. You can’t go too far wrong if you use empathy as your lens. But the reason I wrote Alex Fierro, or Nico di Angelo, or any of my characters, is much more personal.

I was a teacher for many years, in public and private school, California and Texas. During those years, I taught all kinds of kids. I want them all to know that I see them. They matter. I write characters to honor my students, and to make up for what I wished I could have done for them in the classroom.

I think about my former student Adrian (a pseudonym), back in the 90s in San Francisco. Adrian used the pronouns he and him, so I will call him that, but I suspect Adrian might have had more freedom and more options as to how he self-identified in school were he growing up today. His peers, his teachers, his family all understood that Adrian was female, despite his birth designation. Since kindergarten, he had self-selected to be among the girls – socially, athletically, academically. He was one of our girls. And although he got support and acceptance at the school, I don’t know that I helped him as much as I could, or that I tried to understand his needs and his journey. At that time in my life, I didn’t have the experience, the vocabulary, or frankly the emotional capacity to have that conversation. When we broke into social skills groups, for instance, boys apart from girls, he came into my group with the boys, I think because he felt it was required, but I feel like I missed the opportunity to sit with him and ask him what he wanted. And to assure him it was okay, whichever choice he made. I learned more from Adrian than I taught him. Twenty years later, Alex Fierro is for Adrian.

I think about Jane (pseudonym), another one of my students who was a straight cis-female with two fantastic moms. Again, for LGBTQ families, San Francisco was a pretty good place to live in the 90s, but as we know, prejudice has no geographical border. You cannot build a wall high enough to keep it out. I know Jane got flack about her family. I did what I could to support her, but I don’t think I did enough. I remember the day Jane’s drama class was happening in my classroom. The teacher was new – our first African American male teacher, which we were all really excited about – and this was only his third week. I was sitting at my desk, grading papers, while the teacher did a free association exercise. One of his examples was ‘fruit – gay.’ I think he did it because he thought it would be funny to middle schoolers. After the class, I asked to see the teacher one on one. I asked him to be aware of what he was saying and how that might be hurtful. I know. Me, a white guy, lecturing this Black teacher about hurtful words. He got defensive and quit because he said he could not promise to not use that language again. At the time, I felt like I needed to do something, to stand up especially for Jane and her family. But did I make things better handling it as I did? I think I missed an opportunity to open a dialogue about how different people experience hurtful labels. Emmie and Josephine and their daughter Georgina, the family I introduced in The Dark Prophecy, are for Jane.

I think about Amy, and Mark, and Nicholas … All former students who have come out as gay since I taught them in middle school. All have gone on to have successful careers and happy families. When I taught them, I knew they were different. Their struggles were greater, their perspectives more divergent than some of my other students. I tried to provide a safe space for them, to model respect, but in retrospect, I don’t think I supported them as well as I could have, or reached out as much as they might have needed. I was too busy preparing lessons on Shakespeare or adjectives, and not focusing enough on my students’ emotional health. Adjectives were a lot easier for me to reconcile than feelings. Would they have felt comfortable coming out earlier than college or high school if they had found more support in middle school? Would they have wanted to? I don’t know. But I don’t think they felt it was a safe option, which leaves me thinking that I did not do enough for them at that critical middle school time. I do not want any kid to feel alone, invisible, misunderstood. Nico di Angelo is for Amy, and Mark and Nicholas.

I am trying to do more. Percy Jackson started as a way to empower kids, in particular, my son, who had learning differences. As my platform grew, I felt obliged to use it to empower all kids who are struggling through middle school for whatever reason. I don’t always do enough. I don’t always get it right. Good intentions are wonderful things, but at the end of a manuscript, the text has to stand on its own. What I meant ceases to matter. Kids just see what I wrote. But I have to keep trying. My kids are counting on me.

So thank you, above all, to my former students who taught me. Alex Fierro is for you.

To you, I pledge myself to do better – to apologize when I screw up, to learn from my mistakes, to be there for LGBTQ youth and make sure they know that in my books, they are included. They matter. I am going to stop talking now, but I promise you I won’t stop listening.”

 

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Dinosaurs

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*This entire review is basically the only reason people got to see these films. We’re certainly not watching them for the people in them.

Now, I’ve told you guys how much my Mom loves movies about people being eaten by things, so if she says something was a bad movie, take what she says as the truth. This woman will watch almost anything with giant creatures chasing and eating people, and she hated this movie!

I’m probably one of the few people that didn’t actually hate this movie, although I hated most of the people in it, and spent some amount of time rooting for my three favorite dinosaurs: the T-Rex(which I have named Sue), the velociraptor named Blue, and the mosasaur from the last movie, which I have, henceforth, named Molly.

 

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The Apocalypse

*I had to leave a response to this because the whole idea of the zombie apocalypse has now become nothing more than power a fantasy for White men, who all imagine they’re gonna be Negan, from The Walking Dead. 

I’m not watching any more shows, or reading any more zombie apocalypse novels, with White men in the center of the story. Most zombie novels and movies only feature White, middle-class people, and focus on their reactions to the loss of electricity, I guess.  Despite the existence of most of the world’s infrastructure, and the clear examples of what human beings would actually do when encountering catastrophe, in places like Puerto Rico and  Katrina, apparently one’s immediate reaction is to run amok in the streets, trying to kill each other for food.

I’m ready for some stories featuring unconventional heroes, in diverse environments. This is why I enjoyed World War Z (the book). How does the zombie apocalypse affect the plains of Africa or the mountains of Tibet? The slums of India? Or the favelas of Brazil?

Its also interesting to note that none of the pop culture we know, exists in any of these universe created by the zombie apocalypse. It’s always a surprise to the inhabitants of these stories as if they’d never heard of zombies. They always have to start from scratch. What if we just didn’t? I want to read a story (or watch a show) where all the Black, and Latinx people, in the ‘hood,  lived, because we’ve all been watching movies about the zombie apocalypse for decades, and we know all the rules and the tropes.

why is there no electricity after the apocalypse?

jumpingjacktrash

 

something people writing post-apocalyptic fiction always seem to forget is how extremely easy basic 20th century technology is to achieve if you have a high school education (or the equivalent books from an abandoned library), a few tools (of the type that take 20 years to rust away even if left out in the elements), and the kind of metal scrap you can strip out of a trashed building.

if you want an 18th century tech level, you really need to somehow explain the total failure of humanity as a whole to rebuild their basic tech infrastructure in the decade after your apocalypse event.

i am not a scientist or an engineer, i’m just a house husband with about the level of tech know-how it takes to troubleshoot a lawn mower engine, but i could set up a series of wind turbines and storage batteries for a survivor compound with a few weeks of trial and error out of the stuff my neighbors could loot from the wreckage of the menards out on highway 3. hell, chances are the menards has a couple roof turbines in stock right now. or you could retrofit some from ceiling fans; electric motors and electric generators are the same thing, basically.

radio is garage-tinkering level tech too. so are electric/mechanical medical devices like ventilators and blood pressure cuffs. internal combustion’s trickiest engineering challenge is maintaining your seals without a good source of replacement parts, so after a few years you’re going to be experimenting with o-rings cut out of hot water bottles, but fuel is nbd. you can use alcohol. you can make bio diesel in your back yard. you can use left-over cooking oil, ffs.

what i’m saying is, we really have to stop doing the thing where after the meteor/zombies/alien invasion/whatever everyone is suddenly doing ‘little house on the prairie’ cosplay. unless every bit of metal or every bit of knowlege is somehow erased, folks are going to get set back to 1950 at the most. and you need to account somehow for stopping them from rebuilding the modern world, because that’s going to be a lot of people’s main life goal from the moment the apocalypse lets them have a minute to breathe.

nobody who remembers flush toilets will ever be content with living the medieval life, is what i’m saying. let’s stop writing the No Tech World scenario.

 

lkeke35

As a corollary to the above:

I’ve been saying this about the Zombie apocalypse for years. What city dwellers do you know are gonna immediately drop everything, run out to the woods, and live at a subsistence level, just because dead people are walking around? People with disabilities, allergies, or elderly parents to care for, ain’t going to be doing any such thing. Why is the advice given to people, that they need a “bug out” plan just because the dead are walking? I’m not buying it.

I live in the hood. Do you know how many handymen we have in the hood? How many military personnel? Or even homebody engineers? Do you have any clue how resourceful and cooperative poor people are, and have to be, to survive even with electricity? And how many of us have been trained to expect the best, but plan for the worst case scenario. No, you don’t, because that idea of poverty is never represented in popular culture. Shit! A zombie apocalypse won’t even ruffle our fucking hair. We’ll come up with ways to kill the zombies while keeping it moving. Hell, my brother, all by himself, could have the electricity up and running, a defensive tower, a moat, schooling, and gardening, all in the space of two weeks, and entirely organized by my mother.

It’s also interesting to me that all zombie apocalypse narratives only seem to consist of middle-class, white, suburbanites trying to survive, with a handful of PoC thrown in like confetti. The most that White writers can imagine, for PoC, even during the apocalypse, is that we all die? Really! That seems to be their only scenario. They don’t take into account that poor Black people have been taking care of each other since the invention of poor people. The poor have never believed in an isolationist, go it alone, ruggedly individual attitude, when it comes to surviving, because we couldn’t afford that! That’s the kind of attitude that only people, with all of their basic needs met, could adopt as a life strategy. Poor people are not lazy, and of everyone, they would be the most likely to survive the apocalypse, because we have experience with surviving hardship and insecurity!

On the other hand, the middle-class white guys who invent these types of stories are obsessed with that attitude. They really think that as soon as the electricity stops, people are gonna lose their gotdamn minds, and start trying to kill their neighbors for fun and food, or planning a long journey to go find their wife, son, daughter, lost somewhere in the pre-tech Badlands! Not even taking into account that we have real-life scenarios right here, right now, that we can look at and figure out that most people aren’t gonna act like that. (*cough, ahem! Puerto Rico! Cough*).

I have long come to understand that apocalypse scenario are just wish fulfillment fantasies for middle-class white guys who think that the end of the world will make them the heroes they always wanted to be. As a result, I’m no longer interested in apocalypse scenarios with white men in the center of them as the heroes, and yes, I’m also talking about a certain TV show, too.

 

Source: jumpingjacktrash
Actually, I’ve noticed one staple of almost all apocalyptic fiction written by White people: In everything, from those Purge movies, to alien invasion, and zombie apocalypse movies, the White Western reaction seems to be “go out and kill each other”.
I’m mostly talking about the Purge films, where the premise is that all crime is free for 12 or 24 hours, but all people can think of to do is kill each other. Are you kidding me? Can we get an Oceans 11 version of The Purge, where someone has been planning the perfect heist, all year long? Actually,  I hate the Purge movies because the movies create more questions than they answer, and my super-villain brain keeps trying to organize the cultural, social, and legal implications of such an arrangement.
In a lot of American apocalyptic fiction, we never get any idea how the rest of the world is handling the destruction of the “civilized” world, or even if the rest of the world is experiencing it at all. For all we know, it’s only the Americans and Europeans who have lost their damn minds, and the Canadians are doing just fine! How do we know the Aussies haven’t just all gone punchy from the heat,  put on some fetish gear,  and decide to ride around in the desert?
When White men write about the apocalypse, they often seem to write about destroying whatever, and whoever is left.  Now contrast all that with how Women and PoC write about the apocalypse:
https://www.huffingtonpost.com/olivia-cole/people-of-color-do-surviv_b_5126206.html
https://www.indiewire.com/2016/03/women-and-poc-survive-the-apocalypse-march-2016s-vod-and-web-series-picks-202649/

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Fandom

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*Advice on how to NOT be a shitty fanfiction writer:

There IS such a thing as a bad premise. A story that relies on accepting racism, sexism, homophobia etc as valid or justifiable or not something that needs to be contested, like any story that can not exist or function as is if you take those elements out…is a fundamentally bad fucking premise.

Nobody questions the existence of good ideas. Why do some people fight so damn hard to deny that there is such a thing as a bad idea?

Every idea a person has ever had does not NEED to be put out there. Not every idea leads somewhere good.

And each and everyone of us is capable of evaluating whether an idea we have is good or not. If it’ll do harm or not. We each have the capacity to look at an idea we have and say…yeah that’s not really workable. And just….not share it.

This isn’t an imposition. This isn’t censorship. This is basic human awareness of the fact that ideas in our brain impact us and us alone. Ideas we make the choice to enact in the world in some fashion impact others as well as us.

So fucking many of you resort to crying censorship when all that’s being asked of you is applying some scrutiny to what ideas you decide to share, because you can’t seem to wrap your heads around the idea that someone else telling you what you can and can’t write isn’t the only conclusion to be made from conversations about creative responsibility.

Because you just can’t seem to fathom the concept that you could just decide for yourself…oh, huh, I don’t actually HAVE to do this thing I’m digging my heels in about. It’s not a binary equation. It’s not either I do this or I do nothing at all and I might as well just have no rights or freedoms whatsoever gawd.

It’s almost like it’s actually….hmmm when examining the endless array of possibilities that go into crafting ideas and honing them and all the variables that act as search filters to narrow down my selection process of what areas to focus on, what elements to include….what if ‘hey is this idea one that appropriates shit that’s outside my lane or perpetuates harmful and toxic tropes’ was just an added search filter used in that process?

 

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 Post-lude

moami

if you find bones in the forest, sit a bit and listen. they are old and have some good stories to tell. maybe they’ll teach you a spell or two, or explain where the water on our planet came from.

if you find bones by the ocean, run. don’t look back. run, faster, faster. the sea may love you but there are nights where she knows neither mercy nor science, and the bones warn you only once.

deseng

boi if you find bones call the police i hate this website so much

moami

this is a piece of creative writing, in case you couldn’t tell from the fact that real bones don’t usually go hey lil’ mama lemme whisper bony secrets in your ear or warn you of the incoming tides like a calcified weather frog.

Source: moami

For The Weekend: On Diversity

 

Criticism

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*This is an idea, that I spoke about some time ago, that is slowly starting to gain some traction, after it was widely dispersed that the vast majority of film critics are White men, and after the actresses of Oceans 8 spoke out on why they felt their movie received lukewarm reviews. I have been saying that we need more reviewers of color because more and more movies, books, and TV shows are being released that are not specifically created for White audiences, and I think it’s important that we hear from reviewers who are members of the audiences at which this type of media is aimed, not just White men.

https://variety.com/video/brie-larson-crystal-lucy-awards-critics/

 “[Audiences] are not allowed enough chances to read public discourse on these films by the people that the films were made for. I do not need a 40-year-old white dude to tell me what didn’t work for him about ‘[A] Wrinkle in Time.’ It wasn’t made for him. I want to know what it meant to women of color, to biracial women, to teen women of color, to teens that are biracial.”

Black Mirror and Critical Diversity

https://tvgeekingout.wordpress.com/2018/01/10/black-mirror-and-critical-diversity/

The Problem with White Critics

https://wordpress.com/post/tvgeekingout.wordpress.com/73012

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See I think A Wrinkle in Time just proves we need more female critics and more critics of color because…okay, let me see if I can explain this.

I saw the latest Blade Runner movie and I was bored to tears yet on the movies subreddit, everyone said I either didn’t get it or didn’t give the movie a chance. And when I gave my reasons as to why I didn’t like the movie, I was called close-minded. The movie wasn’t just dull but it had this creepy obsession with women yet didn’t respect women in any way and I found it ironic that a movie all about women and their rights to reproduce had the main character be a male. But obviously, I’m not smart enough to understand this movie.

Now with Wrinkle in Time, I enjoyed this movie and I do honestly feel like a lot of white, male critics are tearing the movie apart because they don’t get it or don’t try to get it. There is also a lot of callous talk concerning this movie.

“Oh, it’s too emotional! It’s too focused on self love!”

How…how are those bad things!?

Like I’m sorry but I am tired of every movie that is dark and gritty being hailed as something thought provoking and deep. Not every single piece of entertainment has to be depressing 24/7. I’ve also noticed that when it comes to movies that are dumb fun, if it doesn’t feature a man, it’s torn apart too. I liked Maleficent. It’s fun but if I like it, I’m an idiot apparently.

What I’m getting to is this. The job of the critic is to tell people if they would like a piece of media or if they would enjoy it. I’m able to see a movie and sometimes say, “This movie was not meant for me but someone else might like it.” I feel like a vast majority of today’s critics can’t do that and I think it’s important that critics be made up of more than just white dudes.

 

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Image result for film criticism/brie larson

*In some ways I agree with the following article. But my point is not that straight, white, 40 year old, men don’t have anything at all to say about films not aimed at them, like A Wrinkle In Time, (which is aimed at bi-racial teenage girls), but that they don’t have anything, of real authentic relevance, to say to any of the bi-racial teenage girls who are going to see the movie, or read the reviews. As a straight white man, there are certain aspects of authenticity, in a movie not aimed at him, that he’s simply not going  to see, and therefor speak about, and his viewpoint shouldn’t be the only one expressed about a film.

This isn’t about whether or not a movie is good or bad, or whether or not White men can  see a movie. Movies are meant to be seen, and are for whoever will go see them, but a bi-racial teenager may have specific insights into A Wrinkle In Time, which is directly aimed at her as its audience. What did she get out it? Did the movie accomplish its goal for her?

We need more diverse film critics because I do want to know what someone of Mexican descent thinks about Coco,  what women think about Wonder Woman, and what a Black person thinks of Black Panther and Luke Cage. Its not that white men have no insight about movies they are not the audience for, but that their insight might be somewhat limited, because they’re not part of the group, or culture.

At the same time I can also acknowledge there are plenty of movies that are aimed at straight, White guys, that they may have insight into, that I just don’t have, like Fight Club, and Taxi Driver. I’ve seen those movies, and can comment on them from a film school essay point of view, but I’m not a a part of the group those films are specifically aimed at. There are things about being a straight White guy that I just don’t know about. I can see the thematic aspects of those movies, but I can’t say a whole lot about their authenticity, and what messages I get from them may be completely different than what the creator intended, (although arguably, I can probably do a better job of it, than any white guy, on movies aimed at women, black people, and Latinx).

http://www.latimes.com/entertainment/movies/la-et-mn-film-criticism-diversity-20180620-htmlstory.html

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Publishing:

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Last year, an author named Lionel Shriver went on a public rant about diversity in publishing. She has since doubled down on her views, which has prompted a scathing response form the author, Hanif Kureishi. And once again this backlash against diversity in publishing is entirely predictable, according to Samuel R. Delaney, (and can also be applied to many areas of media that seek to branch out to different audiences). I will reprint this link as many times as I have to to make my point:

http://www.nyrsf.com/racism-and-science-fiction-.html

As long as there are only one, two, or a handful of us, however, I presume in a field such as science fiction, where many of its writers come out of the liberal-Jewish tradition, prejudice will most likely remain a slight force—until, say, black writers start to number thirteen, fifteen, twenty percent of the total. At that point, where the competition might be perceived as having some economic heft, chances are we will have as much racism and prejudice here as in any other field.

Penguin’s response:

:https://www.independent.co.uk/voices/penguin-publishers-diversity-inclusion-scheme-writers-queer-lgbtq-race-class-disability-women-a8393796.html

https://www.theguardian.com/books/2018/jun/11/publisher-defends-diversity-drive-after-lionel-shrivers-attack

 

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Kureishi’s response:

https://www.theguardian.com/commentisfree/2018/jun/15/diversity-publishing-culture-minority-writers-penguin

The British creativity I grew up with – in pop, fashion, poetry, the visual arts and the novel – has almost always come from outside the mainstream: from clubs, gay subcultures, the working class and from the street. Many of the instigators may have been white, but they were not from the middle class – a class that lacks, in my experience, the imagination, fearlessness and talent to be truly subversive.

 

Movies

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*An article on how the current crop of horror movies  are a reflection of America’s greatest fears, and always have been. I spoke on this briefly, when I reviewed the Bodysnatchers movies, and how each iteration was a reflection of America’s greatest fears, during the time in which they were made. 

https://tvgeekingout.wordpress.com/2018/01/10/invasion-of-the-body-snatchers-1956-vs-all-the-rest/

https://www.vox.com/culture/2016/12/21/13737476/horror-movies-2016-invasion

https://www.theatlantic.com/entertainment/archive/2014/04/why-sci-fi-keeps-imagining-the-enslavement-of-white-people/361173/

But it’s worth remembering that in sci-fi, the future actually isn’t safe or sterile at all. On the contrary, with its alien invasions, evil empires, authoritarian dystopia, and new lands discovered and pacified, the genre can look as much like the past as the future. In particular, sci-fi is often obsessed with colonialism and imperial adventure, the kind that made the British Empire an empire and that still sustains America’s might worldwide.

TV

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There was a long discussion, on Tumblr,  of what constitutes police propaganda, because some people were confused, and wanted to disregard Brooklyn 99 as propaganda, based solely on the idea that  the show was progressive and enjoyable. My argument, and the argument of many others was, this is exactly the reasons why the show is a form of  propaganda for law enforcement.  My argument was that it was the impact of the show, and not the writers intentions which make it propaganda.

http://www.slate.com/blogs/browbeat/2015/05/18/brooklyn_nine_nine_s_fantasy_world_doesn_t_stop_me_from_loving_it_video.html

 It’s a well-crafted fantasy, with hardly any discernible connection to current cultural attitudes about law enforcement. On the surface, the show is really not so different from that subway ad. Does the fact that I love one and feel displeasure for the other make me a hypocrite?

@adhighdefinition

I don’t want to be That Person ™ who adds meaningless noise to discourse, but…

Who in the world thinks that B99 is police propaganda?

Police propaganda is shows like SWAT (which I enjoy immensely, except for the preachiness) or Blue Bloods or NCIS LA, in which law enforcement is glorified and the main characters can do no harm.

B99 focuses on cops, yes, and addresses cop-related issues, yes. But it never portrays policing as anything other than a normal profession, or the characters as more moral than anyone else. You could change the setting to an amusement park or a college or a law firm and the basic setup would stay the same.

Recently in B99, Jake tells Captain Holt that he’s not ready to come back to work, because he has a “little voice in his head saying, ‘but what if [the suspect] innocent’.” And Holt tells him that the voice is a strength. Jake shouldn’t think lightly of throwing people behind bars or accusing them of crimes. It’s a serious matter. “I wish more cops thought that way,” says Holt.

HOW IS THAT PROPAGANDA????

 

Actually the argument you just made for why it isn’t propaganda is exactly why the show is propaganda The series does not show the Brooklyn 99 crew as just regular citizens. The main characters are glorified as being more progressive than the police actually are,  occasionally shown to do no wrong, and when they do wrong, they  correct their mistakes by the end of an episode.

So it actually is. Don’t get me wrong, I absolutely love this show and all it’s characters, but that’s what makes it propaganda. Any cop show that is set up for you to think of the characters as likable, dutiful, and most importantly “good” is propaganda. I think the creators  intent is to be funny, with great characters, and tackle a couple of  social issues, but it is still propaganda, not because, not just because of their intent, but because of the effect of the series in this particular social landscape.

The “effect” is that you end up liking these very liberal, open minded, “woke” cops,  and in real life, cops are generally very conservative. Also, the police are employees of the state, so ANY show that makes us feel some type of way about them (good or bad) automatically makes the show (even unintentionally) political, making it propaganda.

So yes, as wonderful and lovable as the characters are, as nice as they are,   that is the reason that it qualifies as propaganda. Technically, even if all the cops on the show were evil and corrupt, it would still be propaganda, because the net “effect” is that you watch this show, and feel some type of way about the state-run, political entity of law enforcement.  The side effect is that the show makes the police look good, and makes you feel good about them.

Just because it’s a comedy doesn’t mean it doesn’t have an effect on the net accumulation  of people’s thinking about the police. In the end ,it’s not about the “intention” of the creators. It’s about the “effect” the show has in the landscape of television, along with the 15-20 other cop shows airing at the time.

Brooklyn 99 qualifies.

 

Source:

Fandom

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Once again, we need to discuss the racism that has heavily infested the fandom. Why? Because its  merely a reflection of the everyday microaggressions and racism that White people practice on the daily. I’m also going to argue that this racism is informed by decades of television viewing in which White audiences were never given any alternative narratives about PoC, women, and gender, and sexual orientation.

https://fanlore.org/wiki/Race_and_Fandom#Racism_in_Slash_Fandom

Race and ethnicity has been an issue in the canons of fannish source texts for almost as long as fandom has been around. Because most entertainment is created and produced by white males, particularly in Hollywood, it tends to reflect the mindset and experiences of the majority of its creators.

 

http://www.blackenterprise.com/the-power-of-black-women-in-fandom/

As a black women who are fans of black female characters, we are constantly reminded how much hate there is for black women and how voraciously people in fandoms dig for reasons to justify it. Oftentimes white female characters are lauded for doing the same things that white fan bases hate black female characters for.

http://www.vulture.com/2018/06/kelly-marie-tran-star-wars-hollywood-enabled-toxicity.html

The lack of ethnic and gender diversity in the first three films is an original sin that allows toxic fans to point to the Original Trilogy the way gun nuts point to the Second Amendment. There’s no productive argument to be had when anti-inclusivity extremism is at play. These people want what they want, and they’re not disappearing.

 

Why I’m Not Watching The Movie Annihilation

 

I’m a big Jeff Vandermeer fan. I’ve read most of his books, all of which are pretty trippy. (The man has a serious fascination with mushrooms.) So I was  excited to hear they’d be filming his three part Southern Reach series, and while I had no particular objection to Alex Garland as the filmmaker, I had to stop and and ask myself, Is the book unfilmable?

If you haven’t read the book, the best description of it is that it’s an intellectual exercise in horror. Events happen in the book, but the book is not linear, in the sense that the actions you’re reading about have immediate consequences, or lead to other events. This is not helped by the unreliable narrator. Events occur, are occurring, but you have no idea what they mean, or if they did, in fact, actually occur.

In the first book of the Area X trilogy, called Annihilation, an all female team of researchers go on an expedition into what’s called Area X, an area of weird life forms, and bizarre transformations of the natural world, that may or may not be hostile, which grows larger every year. In the movie, this place is called The Shimmer, and it’s probably worth looking at just to see the alien life forms.

These women are the 12th such expedition into the area. Most of the other expeditions didn’t come back, and the individuals who have made it out, either die soon afterwards, or are less than helpful as to what happened.. The narrator is a woman who lost her husband in the previous expedition. He came back but lapsed into a coma.The first book chronicles her journey  into Area X, while still in mourning for her husband. Just to complicate issues, some of the members of the expedition have been tasked with observing the others, and some of them have been given hypnotic code words, to make them do, and say  things.

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I read the first book, and skipped the second and third, because those seemed less about Area X, than about the government organization that studies it, called The Southern Reach. A lot of the second book consists of the backbiting and infighting between the members of this organization.

I don’t know how well this movie is going to do at the box office. I don’t think its going to do exceptionally well, but I could be wrong. Like Nicole Kidman, Natalie Portman has never been a huge draw for filmgoers, although she’s a perfectly acceptable actress. There’s also the matter of this movie coming out on the tail end of the release of Black Panther. But then, I think any movie released in the wake of Black Panther is taking a rather bold stance. The creators of this movie must have realized this because they will be releasing the movie to Netflix UK sometime in March, from what I understand.

What I know of the plot of the movie doesn’t sound a whole lot like the book either. There’s a bunch of mutated animals, including a mutated bear, hunting the members of the expedition. This bear isn’t in the book, although a host of other odd creatures are, the most frightening of which is The Crawler.

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And then there is the matter of the whitewashing. Natalie Portman’s character is described as being Asian in the book, and a lot of people feel some type of way about that, to the point where Garland has had to makes some excuses for why he chose her. He claims he had not read the book before she was cast. What Portman’s excuse is, I have no idea. It was someone’s responsibility to let people know that the lead character was Asian. He also cast Jenifer Jason Leigh in another role supposedly meant for  a half Indian woman. As usual Hollywood continues to fuck up, when it comes to Asian representation.

Myriad reasons have been cited as to how this happened: The characters’ ethnicities are not explicitly stated until the second book; Garland began working on the adaptation before he was officially attached to the project and therefore before the second book was published. Etcetera. The bottom line seems to be ignorance, as Garland, Portman, and Leigh have all stated that they simply didn’t know. It’s not difficult to believe there was no malicious intent in the casting. But the statements still read like apologies that somehow lack the word “sorry,” and shuck responsibility for what happened onto a nonexistent second part

https://www.thedailybeast.com/annihilation-and-hollywoods-erasure-of-asians

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In the meantime, Non-Asian American fans are getting really, really, tired of only seeing the same 25 white actresses in everything. I have nothing against ScarJo, she’s an adequate actress, and she’s very pretty, (JLaw, on the other hand, can go kick rocks) but I really don’t want to see her ass in one more damn movie. I’m just  “tahd” of looking at her, and I’m about to feel the same way about Portman. I understand why Hollywood keeps casting the same people over and over, but still. Enough is enough.

In the book everyone dies, and this is an issue for me, because all the other women in the expedition are women of color. I love that they hired Tessa Thompson and Gina Rodriguez for these roles, but I just don’t feel like sitting in the movie theater watching the only WoC in the entire movie get brutally mauled by a giant demon-bear. I feel tired just thinking about it. Apparently Hollywood’s idea of diversity now is to put WoC in a movie, and then brutally kill them (yeah, we’re looking at you Atomic Blonde!) I’d tell Hollywood to just cast some White women next time, but I’m pretty sure that they are also pretty tired of seeing themselves be brutally fridged,

 

I feel like making the movie about the women being hunted by a mutated animal is kind of dumbing it down, although a lot of critics claim its a very smart film. I just expected more than that because its not just the plot of the book that’s strange. The mood, the dialogue, all of feels uncanny. The book is full of long, quiet, contemplative moments, where the reader is basically sitting with the protagonists and hearing her thoughts. There’s also the added weirdness that she might very well be going insane, and doesn’t know it. It’s because of that, that her descriptions of what the other characters are doing, is suspect. (Perhaps if Terence Malick had been chosen as the director, I’d be more impressed. He seems to specialize in thoughtful voice-over  films.)

Despite my misgivings, I’m still intrigued though, but not intrigued enough to go to the movies and spend money on it. I think I’ll wait for this to come to cable.

 

Reading Black Pop Culture

I just wanted to list a few resources for understanding the history of Black representation in Science Fiction and Fantasy film and comic books. I’ve only read a few of these though. The rest are on my TBR pile for the rest of the year.

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Articles:

We’ll start with Samuel R. Delaney’s famous essay. I’ve been offering this essay to everyone on Tumblr as the answer to their questions on why we’ve been seeing so much blatant racism in fandom. It also answers the question on why people like the Sad Puppies exist.

http://www.nyrsf.com/racism-and-science-fiction-.html

—–Delany countered that the current Hugo debacle has nothing to do with science fiction at all. “It’s socio-economic,” he said. In 1967, as the only black writer among the Nebula nominees, he didn’t represent the same kind of threat. But Delany believes that, as women and people of color start to have “economic heft,” there is a fear that what is “normal” will cease to enjoy the same position of power. “There are a lot of black women writers, and some of them are gay, and they are writing about their own historical moment, and the result is that white male writers find themselves wondering if this is a reverse kind of racism. But when it gets to fifty per cent,” he said, then “we can talk about that.” It has nothing to do with science fiction, he reiterated. “It has to do with the rest of society where science fiction exists.”

https://www.newyorker.com/books/page-turner/samuel-delany-and-the-past-and-future-of-science-fiction

 

If you enjoy Black Panther this weekend, here are some  interesting sources of entertainment to follow up:

https://www.theroot.com/a-guide-to-fantasy-and-science-fiction-made-for-black-p-1820396166

Books:

All of these are books are available on Amazon:

https://bookriot.com/2017/06/22/for-ob-day-5-science-fiction-and-fantasy-women-of-color-authors-to-read-after-octavia-butler/

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Speculative Blackness: The Future of Race in Science Fiction by [Carrington, André M.]
Super Black: American Pop Culture and Black Superheroes by [Nama, Adilifu]

The Terror TV Series

I’ve been fascinated by Arctic environments since I first watched the 1956 verson of The Thing (with James Arness) when I was a kid. And it wasn’t just The Thing, there was another movie called The Beast From 20,000 Fathoms, that combined Arctic environments with dinosaurs rampaging through a city, that I got a real kick out of, too.

A few years ago, I’d never read any of Dan Simmons books, although he was on my radar because he is one of the top horror writers in the industry. I hadn’t read them, not because he’s a bad writer,he’s a most excellent writer, I just never had the time, and he writes some real doorstoppers. But I couldn’t resist the plot of The Terror, about an old school Arctic expedition that goes horribly wrong. It features a mysterious monster, some serious levels of  hardship, starvation, and  possibly some cannibalism.

I love the book.  It’s one of my top favorites of the past 20 years, so imagine my joy when I found out they were making a TV show about it, and it’s on AMC, which means the creators can remain faithful  to the plot of the book, which also involves an element of the supernatural, and some graphic deaths. It definitely classifies as horror. I hope it blows up as much as The Walking Dead did, too.

This week, the first trailer was released. The show airs right at the end of TWD’s season in March, which will be here in no time, so I’m very excited. I just want to hype this up a bit, in case you guys hadn’t heard of it yet.

 

 

It also looks very faithful to the plot of the book, and seems to have captured that feeling of dread, that seems to be a requirement of y movie set in a cold climate.It’s based on a true story in the sense that it has many events from that have actually happened in such expeditions.

For those of you worried about problematic issues, I can’t recall any from the book There is a young Indigenous woman, but in the book she comes to no harm, and if the creators keep that truthfulness to the book, she won’t on the show.

I’ll review the pilot episode when it airs.

Adequate Representation & Fandom Racism

 

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I think Samuel R. Delaney really summed this up best when he outlined how the rise in racist behavior from White people in fandoms (and most other ventures and organizations) is often directly commensurate with a rise in the number of PoC who are participating in said event. Not to imply causality here, but certainly there is a correlation.

 

*(Warning for graphic descriptions of lynching.)

“Racism and Science Fiction”
by Samuel R. Delany

From NYRSF Issue 120, August 1998. “Racism in SF” first appeared in volume form
in Darkmatter, edited by Sheree R. Thomas, Warner Books: New York, 2000.
Posted by Permission of Samuel R. Delany. Copyright © 1998 by Samuel R. Delany.


Racism for me has always appeared to be first and foremost a system, largely supported by material and economic conditions at work in a field of social traditions. Thus, though racism is always made manifest through individuals’ decisions, actions, words, and feelings, when we have the luxury of looking at it with the longer view (and we don’t, always), usually I don’t see much point in blaming people personally, white or black, for their feelings or even for their specific actions—as long as they remain this side of the criminal. These are not what stabilize the system. These are not what promote and reproduce the system. These are not the points where the most lasting changes can be introduced to alter the system.

 

http://www.nyrsf.com/racism-and-science-fiction-.html

 

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Delaney was specifically discussing Genre literature in this essay, but this same reasoning could also be applied to television, film, fandoms, tech startups,  travel, medicine, and academia. The reason why so many people like to look back to the “Good ‘Ol Days” and say there wasn’t any racism back then, is because there weren’t enough PoC involved in that particular industry back then, to trigger the “Pushback” behavior we’re seeing now, at least not in enough numbers that White people thought it worrisome.

There isn’t more racism being expressed in fandom. It’s the same amount of whitewashing, erasure, and White prioritization that  has always existed. The only differences now is that with the rise, in number, of fans of color, White bigots have become more  vocal in their efforts to push back against those numbers, and there are more of us to call them out on their behavior.

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Whether they know what they’re doing or not, fans are participating in an effort to drive PoC away from spaces they have always considered safely theirs, and not just against PoC, but women as well. This happens in every industry, and it has always failed.  There has never been a time when White bigots (whether they knew they were bigots, or not) successfully managed to send THOSE people back where they came from, or halt their participation in some cultural pursuit. Nevertheless, each generation of newcomers must go through the same song and dance of defending our presence, wherever we happened to show up, or defending our interest, in something we found entertaining.

And I am a WoC, so I have had to work doubly hard at this.

They Came From Netgalley

 

 

I was really excited to get these from Netgalley, and I’m happy to share my thoughts about them with you guys. I’m usually never able to finish reading these before I get the next book, or the original is released but, I like to take my time and get the full flavor of a book before reviewing it.

 

Under the Pendulum Sun by Jeanette Ng 

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I don’t think I’m going to finish this book. I was initially very excited at the idea of Christian Missionaries from the Victorian era visiting the land of Fairy, as that is such a novel concept, but this book has turned out not to be what I’d hoped. What I thought would be  a kind of expedition to strange lands and peoples,  with grand adventures, heroes and villains, turned out to be a lot slower and more contemplative. This isn’t a bad book, I just don’t think I’m the audience for it.

First,  let me start off by emphasizing, for me, this is a very slow book. There’s almost no action, and little investigation of the Fairylands, even though I’m almost a third of the way through. The main character, a woman searching for her brother who has become lost in Fairyland, has been trapped in the same location since the beginning of the book, a large mansion where her brother resided. She is an acceptably brave and intelligent character, and I like hearing her thoughts as she narrates the story, but she hasn’t gotten a chance to have any real adventure, which I thought this book would be about. The most notable thing she has done is find an important book in the mansion’s  library, meet a couple of  fairy house servants, and hold a church service.

I also feel some type of way about missionaries in general (as in not approving of them) but so far the proselytizing has been kept to a minimum. It’s not  that type of book, for which I am grateful, but I still don’t know if I want to keep reading it.

 
Magicians Impossible by Brad Abraham

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This book is much more promising. I like the action in this book. What I don’t like is the protagonist. The lead character is just boring and so very ordinary. Jason Bishop has a mysterious past, and a father he barely knew, who was said to have committed suicide. When he attends his father’s funeral, he starts an adventure where he discovers that he comes from a line of mages, and that his father was one of the primary players in an ongoing fight between several magical societies.

I don’t dislike this book, (I really like  it!) but Jason is not an exciting  character, and maybe that’s the point.  Maybe there’s some character growth later in the story? I don’t dislike him though. That would require that he have enough personality to dislike. On the other hand, the other characters are really interesting. There’s a female  Punk/Mage I really liked, and the bad guys are suitably nasty, and everyone is after Jason. Jason  has to try to navigate an entirely new and unknown world, manage his own magical gifts, and figure out who are his friends and enemies.

The magic in the books is the typical bombastic hand waving sort, but it’s also abetted by actual card magic,  which I thought was a lot of fun. Despite the presence of Jason, I am looking forward to the next book in the series, as we get past all the introductory stuff of Jason picking up skills, and meeting the other characters. Once we get into the serious world-building, this will be a wonderful series to tide you over, between Harry Dresden novels, which is the greatest compliment I could give to an Urban Fantasy book.

 

The Change Series by Guy Adams

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I remember reading something very similar to this book a few years ago. That opening chapter scared the Beejesus out of me because I had no idea what was happening. I never got a chance to finish that book, and I think this is it.

Something happened. As in Robert McCammon’s short story ‘Something Passed By’, something happened on Earth that was so awful, that most of the people who witnessed it died. The ones who didn’t die were  mentally and physically altered and all the rules of the world changed. No one can get near any of the cities without dying, animal life has been altered, and strange and malevolent creatures prey on the people who are left.

Howard managed to survive the invasion but has amnesia. He doesn’t remember what happened but knows he needs to make it to the city of London. On the way he encounters machinist biker gangs, deadly blackbirds, and a mechanized monster that eats people and incorporates their bodies into its own.

This is a six-part series ranging from London, to Paris, to Tokyo, chronicling the adventures of various characters as they deal with this new and changed world. What makes the books so frightening is that all of the changes are inexplicable and unexpected. We learn about the nightmares of this world at the same time the characters do. The world was a known thing, but now all bets are off, and almost anything at all can happen to them as they try to survive, not just the monsters created in the wake of The Change, but the people who were badly affected by it.

The latest in the series, about the adventures of a young girl in Tokyo, named Noriko, is available  on Amazon.

 

 

 

 

Weekend Reading Roundup (October 2017)

Some interesting articles and news items from the past week.

Race and News Media

http://fair.org/article/racism-and-mainstream-media/

http://www.stopracism.ca/content/racism-and-media

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

http://www.slate.com/articles/news_and_politics/culturebox/2017/10/playing_devil_s_advocate_in_conversations_about_race_is_dangerous_and_counterproductive.html

 

Race at the Movies

*I’m a person who studies these subjects, and while I did know about some of these issues, I still managed to miss some of the others:

https://shadowandact.com/hyper-tokenism-ii-othering-the-black-female-body-in-star-wars-the-force-awakens/

*http://www.racebending.com/v4/blog/aliens-looking-white-extraterrestrial-skin-color-in-sci-fi/

https://www.wired.com/2016/02/geeks-guide-diversity-destroy-scifi/

 

On Harvey Weinstein

*Sexual abuse and harassment in Hollywood is an industry wide phenomenon.

 

http://www.shakesville.com/2017/10/men-who-are-bullies-hurt-women.html

https://www.thecut.com/2017/10/why-the-weinstein-sexual-harassment-allegations-came-out-now.html

https://www.washingtonpost.com/blogs/compost/wp/2017/10/06/harvey-weinstein-and-that-different-time-when-hostile-workplaces-were-totally-okay/?utm_term=.daf14ea32517

https://www.newyorker.com/culture/jia-tolentino/how-men-like-harvey-weinstein-implicate-their-victims-in-their-acts

https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories/amp

*The fallout from Rose McGowan being banned from Twitter was White women’s allyship being called into question by WoC, when White women decided to boycott Twitter in support of McGowan.

http://www.newsweek.com/women-color-wonder-why-it-took-until-now-white-women-boycott-twitter-684198

 

*An unexpected Tweet from Terry Crews on his own brush with sexual assault, and why, as a Black man, he never told anyone:

 

 

Black Movie Critic List

*Earlier I did a post on finding Black critics of Black media like Luke Cage and came across several, including an organization developed specifically to support such critics.

http://www.aafca.com/

https://splinternews.com/theres-a-huge-divide-between-how-black-and-white-critic-1797478105

https://kinja.com/danielleyoungproducer

https://www.theringer.com/authors/k-austin-collins

http://www.rogerebert.com/contributors/angelica-jade-bastien

http://www.aafca.com/carlas-corner

 

On White Men With Guns

*I feel some kind of way about watching this show, especially after what happened in Las Vegas..

The Punisher

Let’s talk about The Punisher, for a second. You know, the guy with the massive guns, chip on his shoulder, and penchant for killing people?

Are we gonna talk about how his whiteness plays into people’s acceptance of him?

Are we gonna talk about how his use of violence is pretty much accepted and lauded because of the fact that he’s a white dude?

Are we gonna talk about how Jon Bernthal had to fight to make Frank Castle unheroic on set, and how fans are still going to talk about him like he’s the greatest thing since Iron Man?

Are we gonna talk about how Frank’s whiteness allows him the space to be violent, gory and still sympathetic?  While Black heroes (like David Walker’s Nighthawk) do the exact same thing, but aren’t supported?

 

https://www.splicetoday.com/moving-pictures/taxi-driver-and-the-culture-of-violence

https://www.washingtonpost.com/blogs/compost/wp/2017/10/02/when-white-men-turn-into-lone-wolves/?utm_term=.d13d79b39238

https://theintercept.com/2017/10/02/lone-wolf-white-privlege-las-vegas-stephen-paddock/

 

 

On Rick and Morty Fans

I’m not a fan of this show. I just don’t have the patience for any of the character’s shenanigans at this time, but I’m thoroughly and completely appalled at what most fandoms have come to, at this point. Geek fandom was never a healthy place for me, to be honest, but fandom today seems to be especially toxic, with an influx of the kinds of people who have no idea how to be fans of pop culture, (although to be fair this has been happening in sports for decades.)

http://www.indiewire.com/2017/10/rick-and-morty-szechuan-sauce-breaking-bad-pizza-fandom-gone-bad-1201886904/

https://www.forbes.com/sites/danidiplacido/2017/10/08/rick-and-morty-fans-take-obnoxiousness-to-a-whole-new-dimension/#1e71038676ac

https://www.polygon.com/2017/10/9/16447460/rick-and-morty-szechuan-sauce-mcdonalds-fans-anger

 

 

Free PDF Book List On Race

Found from various places online:

The Pedagogy of the Oppressed by Paulo Freire

Angela Y. Davis – Are Prisons Obsolete?

Angela Y. Davis – Race, Women, and Class

The Communist Manifesto – Marx and Engels

Sister Outsider: Essays and Speeches by Audre Lorde

Three Guineas by Virginia Woolf

Critical Race Theory: An Introduction by Richard Delgado and Jean Stefancic

The Black Image in the White Mind: Media and Race in America- Robert M. Entman and Andrew Rojecki

Ain’t I a Woman: Black Women and Feminism – bell hooks

Feminism is for Everybody – bell hooks

outlaw culture – bell hooks

Faces at the Bottom of the Well – Derrick Bell

Sex, Power, and Consent – Anastasia Powell

I am Your Sister – Audre Lorde

Patricia Hill Collins – Black Feminist Thought

Gender Trouble – Judith Butler

Four books by Frantz Fanon

Their Eyes Were Watching God – Zora Neale Hurston

Medical Apartheid – Harriet Washington

Fear of a Queer Planet: Queer Politics and Social Theory  – edited by Michael Warner

Colonialism/Postcolonialism – Ania Loomba

Discipline and Punish – Michel Foucault

The Gloria Anzaldua Reader

Capitalist Realism: Is There No Alternative? by Mark Fisher

This Bridge Called by Back: Writings by Radical Women of Color by Cherríe Moraga & Gloria Anzaldúa

What is Cultural Studies? – John Storey 

Cultural Theory and Popular Culture – John Storey

The Disability Studies Reader 

Michel Foucault – Interviews and Other Writings 

Michel Foucault – The History of Sexuality, Vol. 1Vol. 2Vol. 3 

Michel Foucault – The Archeology of Knowledge 

 

Forthcoming Fall Books 2017

Well, I made a list of TV shows, so here’s a list of books I’m looking forward to attempting to read this Fall, or maybe they just look interesting right now. I pretty much have to wait for some of these to be in my hand, before I decide if I’m going to finish, or not.

August

Hex Rated – Jason Ridler

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From the description this seems like a retro 70s X-Files type of plot. I keep picturing an  Asian cop from Starsky & Hutch, wearing a giant mustache. I still don’t know why I find various combinations of paranormal activity and the Federal government fascinating. probably because government organizations represent Order on a large scale, while  anything having to do with the paranormal represents the complete opposite.

 

Son of the Night – Mark Alder

I got halfway through the first book, Son of the Morning, before having to cart it back to the library, from whence I had procured it! And I do mean cart, because it was a massive book. It was also pretty good, up until I had to put it down. Its an Historical Paranormal Thriller, where actual Angels have gotten involved in Europe’s various wars.

 

Resurrection Game – Michelle Bellanger

Apparently, this is  the third book in a series. I haven’t read any of the others but this one sounds intriguing, and I’ve read Ms. Bellanger’s work before, The Dictionary of Demons, and The Vampire Codex.

 

September

1 – Sea of Rust – Robert Cargill

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This one is about sentient robots, wandering an apocalyptic landscape, while trying to find their own humanity.

 

Iron Angels – Eric Flint

Eric Flint has written lots of Historical Urban Fantasy/SciFi, but this one is  interesting to me. It seems  a little more traditional, with a primary protagonist fighting against some paranormal creatures, in  Chi-Town. It too, has an X-Files type of vibe, with government agents getting involved with the Occult.

 

The Salt Line – Holly Goddard Jones

Image result for salt lines book

This is set in an apocalyptic landscape, where half the US is cut off from the other half, because one side has been invaded by disease carrying ticks, and involves a group of action junkies, who like to play with fate, by jumping The Salt Line.

 

7 – I Am Behind You – Lindqvist

I don’t have a date for this book, but it sounds creepy enough. About a boy and his Mom, who wake up in some kind of twilight zone, with lots of other strange people, and something terrible is coming to get them.

 

14 – Peace Talks – Jim Butcher

I loved the ending of the last book, so I’m eagerly looking forward to this. There’s still no listing on Amazon for this, or I’d have pre-ordered it already.

 

26 – Unkindness of Magicians – Kat Howard

Image result for unkindness of magicians

This sounds not unlike a book I’m reading now about magic in New York City,  called The Last Magician, only this one sounds a lot grittier, and a little less traditional.

 

Sleeping Beauties – Stephen King

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I’m looking forward to King’s collaboration with his son Owen King. I’ve not been much of a fan of Owen’s work, but the plot sounds intriguing. The women of the world fall into a deep sleep inside cocoons, and it’s dangerous to wake them up. Now you know men can be fairly bull-headed creatures, who would of course wake all of them up,  thereby destroying the human race, so I’m interested to see how these two will write around that.

 

October

3 – Scandal in Battersea – Mercedes Lackey

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I’m enjoying these Sherlockian Magic mashups by Lackey.

 

Akata Witch/Warrior – Nnedi Okorafor

Image result for akata Warrior

I’m only just now getting into this author through her SciFi book, the Binti series. This sounds like a neat Urban Fantasy set in Nigeria. It’s being billed as an African version of the Harry Potter-verse.

 

What the Hell did I Just Read – David Wong

I’ve liked every one of Wong’s books, so far. They’re terrifying and hilarious, so I don’t want to miss this one, featuring the three main characters from the previous two books, Dave, John (who isn’t actually dead), and Amy, trying to stop some kind of biblical cataclysm.

 

Anno Dracula: 1000 Monsters – Kim Newman

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This is set in the Anno Dracula Universe, starring The Diogenes Club, and the Vampiress Genevieve. I’ve tried to read all of the series, and this one is set in japan, which doesn’t have vampires, but has an entire menagerie of its own monsters to deal with. If you like Japanese folklore and mythology then check it out.

 

10 – Stone in the Skull – Elizabeth Bear

I wasn’t going to read this one, but I know some of you guys must like this series, and I’m a fan of Bear’s other work. This is set in the Eternal Sky series, and is about The Lotus Kingdom. I couldn’t get into the other series, but I’ll try this one.

 

17 – Under the Pendulum Sun

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I’ve already borrowed my copy of this from Netgalley and am working on it now. It’s about a Victorian expedition to the lands of the Fae. A Missionary goes missing and his sister arrives to search for him. I like it so far, but I’m still chafing at all the religious stuff.

 

24 – Strange Weather – Joe Hill

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This is another Joe Hill anthology. I’m looking forward to this book, which features four stories featuring horror, and the paranormal, and sometimes, just the normal made horrible.

 

 

November

All Those Explosions Were Someone Else’s Fault –  James Alan Gardner

This sounds like a parody of the superhero genre, with vampires, capes, ghosts and various weirdnesses. I’ve like Gardner’s books in the past and I like the plot of this one.

 

14th – Into the Drowning Deep – Mira Grant

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I read this first novella about an attack by carnivorous mermaids, on the crew of a Reality TV series, and loved it. This is the sequel.

Black Nonbelievers, Inc.

Walking by Sight, NOT Faith!

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