@Number 71

Round 17. Fight!

Posted by: danhartland on: October 1, 2008

In response to my last post, a lot of people talked about football. This is my fault for using dirty analogies. Over at Torque Control, though, Niall asked, “what’s so bad about sticking up for your crowd against playground bullies?” He of course missed out ‘the other’ from that sentence. My original point was not just that SF is bullied, but that it also bullies. Or rather, that any community sufficiently full of itself will.

What I’ll always hope for is a way in which critics can take a genre piece, examine the way it interacts with that genre, and then fold out a sufficiently decent work into other traditions – even, dare I suggest it, beyond them. Genre is a tool rather than a toolbox – focusing too much on a work’s generic component will inevitably weaken criticism, or leave it hectoring to fellow hectorers. Which is cool, if that’s what you like.

I’m just reading Tristram Shandy, an eighteenth century novel saved from the blustering self-importance of its century by taking blustering self-importance to stratospheric comic heights. It also includes the best bit of sensawunda I’ve felt all year:

In the planet Mercury [...] the intense heat of the country, which is proved by computators, from its vicinity to the sun, to be more than equal to that of red hot iron, – must, I think, long ago have vitrified the bodies of the inhabitants, (as the efficient cause) to suit them for the climate (which is the final cause); so that, betwixt them both, all the tenements of their souls, from top to bottom, may be nothing else, for aught the soundest philosophy can shew to the contrary, but one fine transparent body of clear glass (bating the umbilical knot); – so, that till the inhabitants grow old and terribly wrinkled, whereby the rays of light, in passing through them, become so monstrously refracted, – or return reflected from their surfaces in such transverse lines to the eye, that a man cannot be seen thro’; – his soul might as well, unless, for more ceremy, – or the trifling advantage which the umbilical point gave her, – might, upon all other accounts, I say, play the fool out o’ doors as in her own house.

Lovely. And Sterne was not, I think, ever a Worldcon Guest of Honour.

2 Responses to "Round 17. Fight!"

You bait me, Mr H, and I bait you.

Really, it’s sort of beautiful.

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71 is the number of an apartment we return to regularly in Whinfell Forest, Cumbria. We like it there.


‘We’ are Anna French and Dan Hartland. The Story and the Truth is a sort of inadequate catch-all term for what goes on here: we tend to talk about novels, history, food and fashion, politics and music, but there may also be photographs of soft toys and musicians. Stick around and see.

Sounds We Like

Mumford and Sons - Sigh No More


Dan already wrote about this album here, but Anna's been loving it, too! Like a happier and more stirring Noah and the Whale, Mumford & Sons have a great way with arrangement and melody which makes for a great listen from start to finish. There are highpoints which you'll skip for, but the whole record hangs together perfectly. One of our favourites of the year!

Words We Like

Escaping The Delta, by Elijah Wald


We all know the cliches: Delta blues as the music of the downtrodden, a remnant of slave art, a holler-back to West African forms. Wald never pretends that he has not bought into, continues to buy into, the cult of the Delta bluesman, but shows they were in truth informed not by ancestral memory but by radio playlists. Robert Johnson in particular is assessed not as a unique genius but an accomplished magpie, able to assimilate the pop forms of the day - not just blues, but country and vaudeville - and regurgitate them anew. Escaping the Delta refashions the blues not as cultural fetish but as a particular product of its era and its people. Controversial among those who read books about acoustic blues, but a compelling and rewarding thesis.

Flicks We Like

Alice In The Cities (1974)


It helped that we watched this one together quietly on a calm, dark night. Wim Wenders's careful film, shot beautifully in a grainy black and white, follows a journalist with writer's block as he is left stranded in New York with a young girl, whom he must help find her grandparents back home in Germany. Nowhere close to a voyage of self-discovery, their journey instead feels like a walking round in a circle. Neither of the characters have a true sense of place in a globalising world, and with an inventive economy Wenders explores their resultant, reflective, wanderings.

Anna's Latest Flickr Photo

Apple!

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