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People Love Dead Jews: Reports from a Haunted PresentPeople Love Dead Jews: Reports from a Haunted Present by Dara Horn

My rating: 4 of 5 stars


I read this book from a state of intersectionality—being both Jewish and Black. I found myself constantly questioning her choices of what to mention. When she mentioned the signs saying “No Jews or dogs”, I said “wait! Wasn’t there another group mentioned on those signs?” And yes, all the books that I’ve read on writing say that one should narrow one’s focus. Don’t bring in topics not part of your thesis but that narrowed focus left me extremely perturbed. I can give you may own aside here: I went to the internet looking for an example of the sign. And I found that the top links returned by duckduckgo claim that no such signs existed in the U.S. Do I believe this? No! Unfortunately, the internet contains a rich store of anti-semitic garbage.

My discomfort continued as she cataloged the attacks on Jews in the U.S. recently. Some of them I knew; others were new to me. She has a good point when she points out that the media blamed some of the attacks on gentrification. When other minority groups were attacked, the media does not seek to blame the people killed. (When she searched local media history, the locals were not complaining about the influx of Jewish home buyers. This blaming the victim appears to come from the national media.) I appreciated learning this. But, I also noted that in most cases, the murderers were killed by the police. Meanwhile, people who murder Blacks are taken out to dinner by the police. No—I tell myself she has to focus. The title of the book is “People Love Dead Jews”. And I can’t disagree with the following, even though I can easily change the minority group “…because when Jews get murdered or maimed, it might be an ominous sign that actual people…might later get attacked! I was done with this sort of thing, which amounted to politely persuading people of one’s right to exist.”

There is a section early in the book that I really appreciated as a writer. She describes the difference between the conventions of western literature and yiddish/Jewish literature. Jewish literature, she says, does not often have the redemptive ending that western (and Christian) literature expects. The story just ends. Even the Tevye stories which became “Fiddler on the Roof” do not have the “happy” ending that Broadway has bequeathed us. (Now I have to look them up again.) I read that, saying yes—yes. Because if you know me, you know that I hate stories using the Hero’s Journey plot. I hate pat endings.

She ends with her discovery of Daf Yomi. The joy of study. It is a poetical section which hours later I related to a favorite line from “The Once and Future King’: ″‘The best thing for being sad,’ replied Merlyn, beginning to puff and blow, ‘is to learn something. That is the only thing that never fails.’” I love her description of how the Talmud study.

I can say that I’ve learned something from this book, even if I was occasionally frustrated with her focus.



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The City We BecameThe City We Became by N.K. Jemisin

My rating: 5 of 5 stars


There are some reviews where I might write "once this got going". In true, this book "got going" from the very beginning. I read it in the space of two days, putting it aside on a Saturday night at 2 am and finishing it on 6 pm on Sunday.

The book describes the embodiment of the city of New York in five people and a sixth who represents the entire city. They must band together to protect their city from a Lovecraft-like horror that sometimes represents itself as gentrification. If you live in a city that has threatened culture (New Orleans, Austin) then you will recognize and perhaps grimly smile at the image of a Starbucks attacking our heroes as they race to save Staten Island.

The book is both exciting and satricial, I look forward to reading what comes next.



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ezekielsdaughter: (writing)
The Summer PrinceThe Summer Prince by Alaya Dawn Johnson

My rating: 5 of 5 stars


I just finished the audiobook and I was blown away by this novel. In many respects, it does what any good novel does, it gives us riveting and realistic characters. Gil, June, and Enki are all fully realized people with issues, pains, and the occasional unreasonable behavior of 18-year olds. The novel builds to both a catastrophic and portentous end which is foreshadowed but that I was uncertain that the author would be able to carry out.

And oh, the setting! Seldom since Ian McDonald's "River of Gods" has a novel dropped me into an 'alien' culture and told me to hang on, pay attention, and keep-up-will-you! Some of this may be because I was reading an audiobook and did not have the easy option of turning back and re-reading. However, I will say the audiobook did have the excellent advantage of having narrators who could handle the Portuguese terms, give the dialog a Brazilian inflection, and could end the reading with one of the pieces of music referenced in the novel. (Many thanks for that final touch.)

As others on Goodreads have mentioned, the novel is set in Brazil. At least 400 years have passed since a nucleur and climate catastrophe have reduced North America and most of the Western World. What remains is a Japan where many citizens have uploaded themselves to the cloud and isolated cities in South America. Gil, June, and Enki live in a pyramid-styled city named Palmess Tres that is reminiscent of Incan pyramids. Reminiscent in more than one way. Their city is ruled primarily by women (Aunties and a Queen). Each year, the queen chooses a king who is sacrificed at the end of summer. The king's power lies in the fact that he chooses the next queen as he dies. As the novel begins, June and Gil have managed to wrangle their way into the ceremony where Enki is chosen as that year's King. This is an off-year when the summer king should not have much power, but Enki is a child of the Favelas. He lives at the base of the pyramid (again the pyramid icon is used with great affect) and he plans to live his year in a way that will remind the power structure of the people in the bottom tiers.

The novel is beautifully layered. There are multiple love stories. There is June's coming-of-age story as she seeks to prove that she is the best artist in her city even as she feuds with her mother and step-mother. There is the infighting and politics that June gradually discovers in her city. There are the SF elements of body modifications, nuclear winter, warring gangs in other cities. The author has effortlessly given us a world where June's mother loses her husband to a state approved suicide and later marries a woman, giving her a stepmother. Her city is one in which Orishas and catholic saints are revered (although June is not a devotee of either). Outside Brazil, we hear of a Y-plague that almost wiped out the y-chromosome. In making the city a matriarchal one, the author has not merely flipped the usual patriarchal story. There are "uncles" in the power structure. Men are not prohibited from any profession--they are teachers, doctors, and professionals. But in general, they do not rule. One gets the impression that men, in this city at least, looked at the destruction around them and abandoned the political center. That isn't the case in other cities, but every other city that the author shows us is rubble fought over by gangs of young men. By authorial design, June's city is the only "civilized" city that we actually see in full. The aunties may be as conniving as a TV-Borgia, but their city works. It least it works until Enki gives the people of the lower tiers a voice.

I borrowed this audiobook from the library, but this is one book that I will have to buy so that I can read it again. (Or both--so that I will have the two narrator's excellent delivery of the text.)



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ezekielsdaughter: (BookShelf)
On the way home yesterday, I finished "reading" the unabridged audiobook of "For Whom the Bell Tolls".  16 CDs of unexpected pleasure, I have to admit.

I am trying to clarify for myself what I think of the novel.

After the CD ended, I slipped the first one back into the drive and verified for myself that it does have the circular nature that is so satisfying from me in novels.  It begins and ends with the central protagonist, Robert Jordan, in the same physical position.  He is lying on the grass considering the enemy combatants' position and what his next action should be.  He is not, however, in the same mental position.

When I was actively writing my own novel, workshop members were constantly asking me what my character wanted.  That question drove me batty.  I was more concerned with what the novel was about and the character's total arc. Well, this novel illustrates the difference with clarity.  Robert Jordan WANTS to blow the bridge and get back alive to his base, if possible.  But, that's not what the novel is about. Therefore, this was a lesson for me on how those two things can be different poles of interest in a story.

As it happened, I was still listening to this novel over both Memorial day and the weekend that I finally made it to the movie "The great Gatsby".  So on Memorial Day, I had cause to note that the novel is not a sentimental war novel at all.  Yes, Hemingway lauds the camaraderie of his Spanish Civil War guerrillas.  But he also puts a floodlight on the inefficiencies and cynicism of the competing bands of guerrillas, soldiers and marauding criminals that made up the Spanish Republic. I wonder if any movie that was made from this book, especially right after its publication, contained the underlying cynicism that the novel has.

It honestly surprised me to see a novel of this time (1940) have characters which can express the need for penance for the killings they have done in battle.  The same character who wonders about future penance is Catholic but also expects his new Spanish Republic to be Communist.  Given that, he wonders to himself what type of secular penance will be given to soldiers still experiencing their guilt over what they did during wartime.  Much of that chapter sounds like what we would call PTSD.

It is true that in some respects it is a novel of its time. One of the female characters is a 19-year-old Maria very young and very much in love with Robert Jordan--who she has just met. On the other hand, Hemingway gives us Pilar, Marie's protector, who is very much an adult and very much all woman. She is the one person who can be trusted by Robert Jordan. Both women are weakened by love, something that never seems to weaken the men in the novel.

The novel mocks bureaucracy in both war and in government. There are some very humorous events and the novel and there were often times that I laughed out loud at the guerrilla's bands repartee.

The novel does have the short choppy sentences that every high school teacher tells you to look for in Hemingway but it also has long involved phrasing with detailed descriptions.  Completely different than the phrasing of Fitzgerald (slipped into The Great Gatsby movie). I wondered how some of the language in "For Whom.." would be written now.  It is full of "fake" obscenities. Most of the novel is from Jordan's POV.  We are told that he is a Spanish professor back in America so the language of the book is English, translated Spanish, and Spanish, and an odd type of translated Spanish where he uses thee and thou to represent the intimate form of the word YOU.  And then there are the odd places where men say "Obscenity you"

I have the feeling that I was more patient "hearing" this unabridged novel than I would be reading it.  I gritted my teeth through some of the love scenes between 'Roberto' and Maria.  They were sweet but I tired of hearing Maria beg to stay with Robert in EVERY situation--including blowing the bridge up.  The actor or voice over artist doing the reading was quite good.  He established a voice style for each character without intruding by acting the book.

oh, one more oddity for me was hearing the character Robert Jordan rail against his father for killing himself.  Really, Mr. Hemingway?

ezekielsdaughter: (BookShelf)

I did not pick this up after seeing one of the movies based on a PKD story.  For a while now, I have been reading what a great writer PKD was and I resigned myself to thinking that I just came along too late to appreciate his writing.  

I still think that in some of these stories.  "Adjustment Team" is in this book, and, heresy-of-heresies, I don't think it is far better than the movie "Adjustment Bureau" .  The movie adds a central plot line of a love story that isn't in the short story at all.  But then, the short story has this irritating imitation of a woman that is the main character's wife.  Yes--it appears that directors are constantly adding love stories to PKD's work.  Most of the men in all of these stories are sometimes happily, sometimes unhappily,  and sometimes boringly married.   These are people of the 50's and 60's who find themselves in an altered world.

But not too altered.  And that gives me a few diamonds.  In "Foster, You're Dead", one father is refusing to buy the latest bomb shelter for his family.  He wisely guesses that the now that the security of the country has been privatized--every community must protect itself--the selling of shelters has become just another capitalistic ploy.  As soon as he buys one, the powers that be announce that the enemy has developed the means to penetrate that model.  Everyone will have to buy a new one.

I had read "Minority Report" report; I will only say that it is more cynical than the original.  And there is no redemption for the pre-cogs.  The technology in the short story is outdated. (That's true for all these stories).  That's where the movie was an improvement.  However, the movie aims for a redemption that the story doesn't give.

I don't have the dates for the stories in front of me, but I wonder if they are post-Bradbury's Mars.  I guess that they have to be.  There are a number of stories set on Mars with Earth colonists.  The Earth colonists also have a running battle with an alien race from Proxima and there are a number of stories about that clash.  The "approximations", an Earth slur PKD tells us, can appear to look like humans and in one story they want to investigate our religiosity.    They save the mind of human who died in an accident, call in their Earth counterparts.  Apparently the rule about rescuing people lost at sea is universal.  The mind of the rescued astronaut is isolated and begins to hallucinate the image of Christ.  The Prox scientists and the Earth scientists have a very different reaction.

In this collection, the stories become more and more like the type of Philip K Dick stories that I've read about.  The characters are unsure of reality.  In some cases, we know that the narrator is unreliable, but there are no other narrators in the story to choose.  A few of the characters are non-white.  Which was a surprise to me until I remembered that this is also the man who wrote "The Man in the High Castle".  I'd definitely recommend the book for people curious about Dick's actual stories.

ezekielsdaughter: (Default)
I actually purchased "The 100 Hundred Thousand Kingdoms" and "The Broken Kingdoms at the same time.  I read the first one and started the second one and then decided to put the second aside for awhile.  

Perhaps, not remarkably, the reason that I put the second aside is a reflection of the plot line in the novel.  One of the lead characters in the first book is reviled by the protagonist and I came to share that viewpoint.  Then I got to the second book and part of the plot concerns that character's redemption.  Well, I wasn't ready to forgive him.  Neither, it appears are some of characters from the first book.  I put the book away.  Read other fiction, non-fiction, graphic novels.  Yesterday, I went back to  "The Broken Kingdoms".  It was a Friday off and I read until 2:30 am.  Wonderful book.

After years of workshop, I read differently now.  So I love the way that the  author is able to move her protagonist, Oree, around.  I have such trouble with that in my own stories.  My workshop members are either complaining that they don't know how my character got from one place to another, or they are complaining that I am reporting movement unnecessarily.  Ms. Jemisin does this effortlessly.

Some of the characters end with "cliff-hangers" that make you read one-more-chapter.  But all of them don't.  At times, I read on because I was charmed by the character and her growth.  

She does manage to surprise me when I am telling myself what the next step in "the hero's journey" must be at that point.  It helps that our hero is a heroine and a blind one at that.  She is not "Buffy" who demolishes her enemies and she is not a passive screamer who must always be rescued.  There is action a-plently in the novel.  But while  it is a fantasy, but the characters are emotionally true.  Much to learn from as a writer.  Much to enjoy as a reader.   As a blind woman, Oree is not a hero who will, sword in hand, save the day while discovering her purpose in life.  However, purpose and life, she will discover.  

With its different viewpoint, this book complements the first. It doesn't feel like a 'middle" book.    I would still suggest reading "The Hundred Thousand Kingdoms" first.  Knowledge of the conflict that is going on will enrich the reader's appreciation of the story.   

ezekielsdaughter: (BookShelf)
 I ordered this book from the library because of a review in The New York Review of Science Fiction. On reading the review, I realized that I had never read the novel. I was one of those the reviewer describes as remembering the novel only by the horrible movie that was made of it. Mutant plants roaming the English countryside and killing people; yes, that movie.

It's an old book and a page count of 222 makes it approachable. The copyright is 1951 and as you might expect, there are moments--many moments--when I was given to grind my teeth and remind myself that the book is a creature of its times.

The reviewer in NYRSF quite properly writes about the evidence of the notion of ecology in the novel. (This is before Silent Spring in 1962) He extracts the theme of adaptation in the novel of both the humans and their society and the adaptation of the plants that threaten them. So, yes, there are carnivorous plants in the novel. However, most of the novel is taken up with how society reacts with hit with the double shock of 90% of the populace of Earth being struck blind and the fact that their pet carnivorous plants decide to pull up stakes and stalk them. The humans in the novel have to come to grip with the knowledge that humanity might have wrecked havoc on themselves. They bred the plants and the "comet" that blinded the world may have been an errant satellite built to destroy an enemy nation. It's a good review and it made me hunt up the novel.

Nevertheless, I hit certain sections and understood (maybe) why Joanna Russ wrote "We Who About To..." in 1977. The protagonist, Bill, in Triffeds sees a sighted man leading a gang of blind men early on in the novel. When one of the blind men demands a woman, the sighted leader promptly drags a blind woman out of the people milling in the street and hands her over. The protagonist tells himself that (a) he couldn't prevent this and (b) the woman would eventually be glad that she was "adopted" this tribe. Later in the novel, Bill joins another group where the leader declares that they will take on able bodied men and any women who can have children. The woman that Bill is interested in agrees saying that all women want children anyway. She insists that Bill must also take on 2 blind wives. (This group has raided a school for the blind and taken all the trained women.) This group eventually divides in two with one group declaring themselves civilized, Christian, and against free love. They eventually perish because they could not adapt to the new circumstances.

Russ's novel has a catastrophe also, but one of the women decides that she will not be a brood mare for the men. Much violence ensues. At the time that I read it, I found it depressing and shocking. Now I read Wyndham's book and find it disturbing to read a protagonist excuse rape by saying 'she'll be glad later.' And it irks me to read a character say no one has the right to "deprive any woman of the happiness of carrying out her natural functions." At least, Josella is given a line to wonder how many babies they will want. "I like babies, all right, but there are limits."

I ground my teeth, but I successfully made it to the end of the novel. It's a novel from the 50's, so you don't get today's cynicism. It has as much of a happy ending as might be expected. The book does explore the meaning of normal more than I expected from a disaster novel. A movie made of this book now would still concentrate on the killer plants and roving gangs more than the rambling of the protagonist as he tries to formulate what is moral and ethical in his new world. The only movies in which I see this type of moral questioning are war movies.
ezekielsdaughter: (Default)
 Charles Stross’ “Rule 34” came in the mail today from the SF Book Club. It is back in the queue, even among recent books. There is “Yehuda Halevi” by Hillel Halkin that I started on the way to the retreat. There is “The Hundred Thousand Kingdoms by N. K. Jemisin that I took with me to CT but didn’t start until last week. There is “Who by Fire, Who by Water” by Rabbi Lawrence Hoffman that I bought at the retreat. Those are just the most recent books. When I borrow library books, the books that I own tend to get bypassed because the library books have to go back on schedule.

There are some books wait-listed at the library, but they are graphic novels. More of the “Fables” series. When they do come in, they will take only around 2 hours to read. I’ll try to catch up on books I own for awhile.

Another thought engendered by one of the “Among Others” reviews. One person listed all of the books mentioned in that book. I haven’t read all of those, but that way lies madness. (I am still dubious about a 15-year old reading Delany)
ezekielsdaughter: (BookShelf)
 Some familiar themes are revisited in this book by James Kugel. We are treated to his gift for setting Biblical narratives in a context that moderns will appreciate. We return to revelations in his book “The God of Old”. I think that he is willing to go outside the comfort level of many: he compares and contrasts the early view of God in Genesis -- a God who does not know everything and is not everywhere and yet shows up at the ancient’s doorsteps at times--with the Greek gods who also sometimes disguised themselves as humans. He invokes Julian Jaynes’ “The Origin of Consciousness in the Breakdown of the Bicameral Mind” (And I finally read why that theory fell out the favor even though the meme still chases us around.) There are few religious and Jewish writers that wrestle with scientific theory and handle midrash and biblical poetry like a surgeon.

This book was written after the author wrestled with cancer. In it, he looks back at the shadow and ponders the the topics of why religious belief persists, what the “smallness” was that he felt when ill; can the sickening question be answered (why does human suffering exist?). During the brief book, he revisits both Job and the aforementioned Julian Jaynes. He traverses Ecclesiastes and Philippe Aries, Augustus and Boethius. His answer is different from Harold Kushner. In truth, I don’t know if he does answer it. I think that he finds the exploration more interesting; I agree. In the end, we read that he is 10 years free of cancer, but obviously the people that he met during his travails are still with him. He ends the book with memories of people that he left in that shadow.*




*And not in the shadow of death. Early on, he explains that the famous 23rd psalm does not read “the shadow of death”. There’s only one noun in the hebrew phrase. “To begin with,” he writes, “in the ancient Near East -- shadow generally had no negative connotations. The sun was hot, sometimes fatally so; shade or shadow saved you from its dangers. These words therefore generally had positive associations; often they were used metaphorically for ‘protection’.” Loved that!
ezekielsdaughter: (writing)
 Last week's word on Writer's Island was "tribute" and I thought fine! because there are people in my life who deserve a tribute from me. However, I feel like an empty soap container right now. Even if you streamed a little water into my head and sloshed it around, no soap would come out. I am drained.

My explanation? I spent a good two weeks being "on" in a training class. Asking questions, wearing makeup, dressing up and wearing heels all day. "We wear the mask", indeed. I've been writing the character of "Marian" for two weeks and I need a break.

At the moment, I am bored. I've been reading "Flashforward" as an audio book. No reflection on that book, even though it isn't my usual fare. And today's study session at synagogue was actually good. But right now, I am bored and not willing to extend myself to what? I could read more, but the boredom is not caused by not enough fluid going in. It's a reflection that not enough creative work is going out. If anything, all the books and TV and entertainment are drugs that keep me from the hard work of writing. So, here is a little "woodshedding", as Kalamu called it.
ezekielsdaughter: (BookShelf)
Yesterday, I ran over to Alvar branch library for a workshop that wasn’t scheduled on that day.  Short explanation: I didn’t look at the schedule on the library’s web site and didn’t realize that there was a week off after the initial meeting.  It was an interesting day despite that. 

The library had scheduled Join Nolde Alexius and Judy Kahn, editors of Best of LSU fiction at 2 pm and New Orleans writer Paulette Jones at 3 pm.  Therefore, at 3 pm, there were the two of us who didn’t know the workshop schedule, the two writers from LSU, Ms. Jones and her publisher, the library manager, and an Italian guy who was in town as a volunteer construction worker in the lower Ninth ward.  We made a group.  The LSU group talked about the process of publishing their book during a period of budget cuts at LSU.  Ms. Jones read from her book and then she and her publisher talked about creating a publishing company--first to publish Ms. Jones book and then to reach out to other writers.  They advised the LSU folks to consider print-on-demand and electronic publishing (along with their current publisher).  The library staff advised both groups what distributer libraries use to order their books.  It was a surprise, I admit, to see the LSU folks scribbling down the info on print-on-demand and about distributors.  It was also a joy to see this new publishing company reach out and lift up other writers. When I usually hear about self-published authors, it is not to hear that they turned around, formed a company and said, ‘now let’s help others’.    (Usually, I said.  I do know of others).  Publishing is hard work and most writers would prefer to concentrate on writing.

Alvar branch library is a hard working place.  It was packed on Saturday with all of the different events going on.  There was other planned events going on.  And it’s such a tiny place.  Now that the Westbank Regional has been reconstructed, it would be great if they could do half of what Alvar is doing with their much smaller space.
ezekielsdaughter: (BookShelf)

History is such a delight at times, which is why I went and found Jack Weatherford’s book on Genghis Khan after reading the latter one about the women in the family.  After this, no more.  His other books are on other topics.  (He spent over six years of research on Genghis Khan.  I can understand why there are two books.)

 

Notes that delighted me:

 

“As long as men kidnapped women, there would be feuding on the steppes.  Genghis Khan’s first new law reportedly forbade the kidnapping of women.”

 

“Based upon his own experiences over the disruptions that surrounded question of the legitimacy of children, he declared all children legitimate….”

 

“…he forbade the selling of women into marriage.”

 

“…virtually every religion from Buddhism to Christianity and Manichaenism to Islam had found converts among the steppe people.  In probably the first law of its kind anywhere in the world, Genghis Khan decreed complete and total religious freedom for everyone.  Although he continued to worship the spirits of his homeland, he did not permit them to be used as a national cult.”

 

“Unlike many civilizations—and most particularly western Europe, where monarchs ruled by the will of God and reigned above the law—Genghis Khan made it clear that his Great Law applied as strictly to the rulers as to everyone else.”

 

There’s more, so it’s a pity to read “His descendants proved able to abide by this rule for only about fifty years after his death before they discarded it.”

 

They had an abhorrence of blood, so torture was against Mongol law.  

 

The distaste for spilled blood showed up when they fought European nobles who had a code that extolled hand-to-hand combat.   The Mongols were perfect archers and fought at a distance.  They used retreat as a method of drawing their enemy out into an area where they could wipe them out.  They didn’t take prisoners to use as hostages.  After Genghis Khan fought a few battles where he conquered a city and then turned it back over to the nobles, he found that the nobles revolted as soon as he left.  After that, he had the city emptied; he separated the people into craftsmen (valuable), peasants (used as cannon fodder), and nobles (killed straight off).

 

This is one of the few books that made military techniques interesting to read.  I am not one of those buffs who pour over military manuals.   But the author is in love with his subject.

 

“Warriors everywhere have been taught to die for their leader, but Genghis Khan never asked his men to die for him. …Unlike other generals who easily ordered hundreds of thousands… to their death, Genghis Khan would never willingly sacrifice a single one….The Mongols did not find honor in fighting; they found honor in winning.”

 

These are people who were aware of their propaganda and played it up.  They drove the peasants of the small towns ahead of them so that they clogged the roads and the soldiers opposing them could not get through.  They diverted rivers to flood cities that they besieged.  In one case, they captured an envoy, dressed in his clothes and convinced the town to send the troops away. 

 

Even after Khan died, the Mongol empire grew—despite his incompetent sons.  At its height, the four corners of the empire were Poland, Egypt, Java and Japan.  When they tried to expand militarily into Europe, the wet climate stymied them.  In Egypt, they ran into soldiers that they themselves had trained in other wars.  In Japan, they conquered land, but they did not have the navy that could support the army.  Java—same problem.  They didn’t have a navy.   Everything else from Russia to China to Persia to India was theirs.  They had influence in Europe who was hungry for their technology, fabric and spices, but they didn’t rule there.  What broke the empire up was the plague.  Travel stopped and communication and trade supported the empire. 

 

Oh, and I guess I see why China “claims” Tibet.  The Mongols brought Tibet into the Chinese empire.  In fact, one of the earlier Dali Lamas was a descendent of Genghis Khan.  Since the Chinese of the time detested the Mongols and their Tibetan monks, you would think that they would want to cut Tibet loose.  It appears that China wants to keep the property and eject the property owners.

 

Genghis Khan was such a powerful name that as late as 1937, communist Russia and China were killing scholars on the subject.  It’s only recently that native Mongols have been able to research and write about their history.   I am only too glad that browsing the library bumped me into the professor’s two books.

ezekielsdaughter: (BookShelf)

Last week’s book was “The Separation” by Christopher Priest.  The story line twists and turns upon itself like an ouroboros snake.  After I read it, I went searching for reviews.  This is by the same author who wrote “The Prestige”, so if you had a problem with that book (or movie), seek out a different book.  This one is just as challenging.  I want to let it percolate in my head for a bit.

 

I will say that a lot of the detail probably went over my head because I am not one of the folks who read books on WWII and the personalities (especially Churchill and Hess) involved.  And this is more technically detailed than Connie Willis’ books set during the same time period.  Some of this is dry and very reserved.  The technical details---like the description of piloting a WWII bomber—make the novel convincing.   Somewhere after the first half of the book, things start to get subtly stranger.  Although—maybe they were strange from the beginning.  That blind spot that I have for WWII history, you see.   It would be interesting to see what the war gaming guys in my workshop would make of this.  They would know where the strangeness actually began to creep into the story.

 
www.powells.com/biblio/66-9780575070035-0

 

ezekielsdaughter: (writing)

1

I have it often now, the feeling of having a double consciousness.  And I first noticed it when I was caught flatfooted.  For a moment, I  saw through my own experience.  I was listening to NPR Sunday and the morning puzzle.  The answer to one question depended on a synonym for red.  The answer was “flushed”. 

 

“Nonsense,” I thought.  Flushed doesn’t mean red! Then I did a double-take.  Oh!  Depends on your complexion doesn’t it?   Now, I find it difficult to listen to those morning quizzes without seeing the cultural/physiological references.  Not as simple as “cup and saucer” as “Good Times” simplistically described it years ago.  I remember sneering when I heard that as an example of a cultural reference that only middle class people would know.   I don’t expect to know the Beetles references but “flushed” threw me.

 

2

 

The second case of frisson was reading “Jewish Pirates of the Caribbean: How a generation of swashbuckling Jews carved out an empire in the New World in their quest for treasure, religious freedom—and Revenge”

 

So it begins with the Jews kicked out of Spain at the same time as Columbus sails.  The author plays around with the notion that Columbus had Jewish ancestors but he has more documentation that he had Jewish navigators and some Jews in the crew.  The person who helped convince Isabella to be a patron was a converso.   The author gives the reader an overview of the Jewish exile at the time.  They could not be citizens of any Christian country.  Therefore, they were the prey of all.   There were Jews in the land of Israel, but in general, the crusades and the ascent of Islam had prevented many Jews from remaining in the land.    There was an “idyllic” time when Spain was home to Moors, Jews and Christians.  Ferdinand and Isabella changed all that in their purge of Islam from Spain.  After the Moors were purged, the King and Queen turned on the Jews.  When Spain said convert or die, they tore children from their parents’ arms and baptized them.  You either left or converted.  If you converted, you couldn’t immigrate—less you revert.  Even if you converted, people might still turn you in as a traitor to the faith and you were burned.  Some went to Portugal, a country that wanted Jewish money and navigational ability.  Later, Spain took over Portugal and started burning the conversos of Portugal.  Some were accepted by Holland for the same reason that Portugal took them in.  Some managed to get to Jamaica where they started convincing the English to invite the local pirates in to protect the colony.  (There is lots of summarizing here).   I can’t help but feel for fellow Jews driven from one country to the next and denied citizenship anywhere until Cromwell offers –a few—citizenship in GB.  The desperate desire for citizenship is explained when a few do get British citizenship.  When Spain shows up and starts to cart off British Jews to burn, GB says “ahem” and notes that burning their citizens will be looked upon as an act of war. 

 

The sandpaper feeling comes when you remember what a monster Columbus really was.  Where are the natives of Hispaniola, after all?  The Jews who escaped to the New World are not allowed to farm—even though some try.  They were bought there to trade.  And trade they do, in sugar, in rum—oh this sounds familiar—and slaves.  Farming was taken away from them, the author points out.  As soon as Spain and Portugal realize that sugar is more profitable than searching for gold, the Inquisition is brought in to clear out the Jews.  Even the English merchants in Jamaica begged Cromwell and later King Charles to relieve from “these descendants of the Crucifiers of our Lord.”  Only their continued usefulness to Great Britain against Spain saved them.   The author doesn’t hide the trafficking in slaves but that isn’t the focus of his book.   I don’t know if the trafficking in slaves ended when GB left the slave trading business.  Certainly, the end of the book is more interested in the pirates harassing Spanish ships (hence the “revenge” in the title).   There are mentions here and there of masters who freed their own slaves when the slaves asked to become Jews.  The British describe these Jews of Jamaica as Black because they are a mixture of North African, Spanish, and Portuguese leavened with West Africans.  Looking at photos online, it would be easy to say that they are “Black”.  Louisiana’s old laws would call them so.

 

3

 

So here I am, sister to both the oppressor and the oppressed.  A familiar feeling when American and Black let along American, Jewish, and Black.   As a result, my writing is so mixed.  I expect readers to have a passing knowledge of the Hebrew bible, the Christian bible and a little bit of Black history.  In one story, I expected the reader to know the major Hindu gods and recognize the name of a major African-American college.  Every human being has a mixed or stratified history.  But years and willful forgetfulness separate some readers from the raids, the midnight purges, and rapes that created them.  They know what the word “flushed” means but dozens of other words escape them and those words will never be clues on Sunday morning.

 

My complaining would have more weight if I wrote more fiction.  Lately, I come up with conversations that I wished to write, but no real story.    I am doing a lot of reading.

 


ezekielsdaughter: (BookShelf)
I’m reading “Mother of the Gods  From Cybele to the Virgin Mary”.  Very academic and often over my head.  But occasionally I run into these chapters like Chapter 4 which describes the Romans adopting a foreign god because of fear of falling rocks in their region.  So they formally go to Pessinos, pick up a holy stone (which the author says was a meteorite) and bring it back with ceremony to Rome.  They have to find a chaste young man to accompany it, and it is turned over to the matrons of Rome.  Later, it’s incorporated into its own home in the statue of a woman/mother.  It’s a foreign goddess, but I guess that it solved the problem of falling rocks for them.  I say that it remained foreign because the worship of this particular goddess involved men castrating themselves--which the Romans abhorred.  How did the Romans make peace with such a practice?  It sounds like it was socially walled off; no Romans worshipped this goddess.  They imported the worshippers.  Mercenary worshippers!

This chapter also has a quote from a Roman:
“Let no one imagine, however, that I am not sensible that some of the Greek myths are useful to mankind, part of them explaining, as they do, the works of Nature by allegories, other being designed as a consolation for human misfortunes, some freeing the mind of its agitations and terrors…”

I never saw the Romans as being that clear minded about their religion.  That probably explains why it was so easy for them to make a late Emperor a god.  It was only politics.
ezekielsdaughter: (babyWriter)
I started Geoff Ryman’s “Air” seriously last night, took a break at 2 am, woke at 6:30 am and just finished it now at 1 pm.  Yes, I was enthralled.  Yes, I am insanely jealous at what he accomplished.  Ah, to have such skill!

The proper thing to do would be to immediately read it again and learn.  Certainly, figure out how he manages the chapter in which the protagonist is confused, but quite accurately describes what is going on.  As a reader, I didn’t understand, but read on.  Now I can go back and it is crystal-clear.  It’s what I wanted to do with my first chapter and many complained bitterly.  I’ve rewritten the first chapter, but now it feels like it was written for a fourth grader.  I want to know how to convince a reader to soldier on with the assurance that s/he will understand eventually.  

I can also admire the turns that this novel took.  Just when stress is removed from the primary character, he jerks the rug from beneath her.  In one case, I was only half way into the book, so I knew that something was going to come up.  But the something was completely unexpected.  He also manages to handle the loss the protagonist’s POV near the end of the book.  There are so many similarities to what I was trying to do. 

I guess that I have to be responsible now.  Clean up and do the usual Sunday things.   I find it comforting that this book hasn’t made me throw up my hands in defeat.  Even after going to bed, I tossed and turned and tried to consider what my next short story would be.   I have to finish editing the novel, but I need the practice of working with a short story.  I have to get my hands in new clay again.
ezekielsdaughter: (Default)
It's annoying when I have editing to do and I am too tired to do it.  I don't see how a fit body makes a fit mind as SciAm says:  www.scientificamerican.com/article.cfm
Right now, after an hour at the gym, I feel absolutely drained and stupid.

By the way, I finished "Mission Song".  Now I am on Toni Morrison's "Burn This Book".  It is difficult to read fiction and write fiction--at least for me.  My fiction ends up sounding like a very poor imitation of what I am reading.

Another "by the way", the pleasant memory of walking into Whole Food last night and being met by Marie Antoinette--who served me cake!  New Orleans is quite fun at times.  Another of the trainer's client told me about the running of the bulls that was held this weekend in the quarter.  The roller derby girls dressed up as bulls and chased people throughout the streets.  They had wooden paddles to substitute for gorging the runners.   It must have been a sight.

Now reading

Jul. 2nd, 2009 09:17 am
ezekielsdaughter: (BookShelf)

I am still listening to/reading John LeCarre’s “The Mission Song”.

 

“Still reading” is sometimes a reproach and sometimes celebration. Am I still reading because the book is difficult to get through? Or because I don’t want to let go of beautiful prose and characters that I’ve come to love?  

 

No surprise here: I love LeCarre’s character Salvo and his lover Hannah. However, I’ve arrived at the section of the book where you cringe at the character’s actions. Salvo decides to ambush-meet his supervisor and you clutch your chair’s armrest in fear. Salvo makes a phone call to his ex-wife’s boss and you want to slap him. ‘Brother! Have you forgotten that you’re Black? These people have no loyalty to you. They only accepted your humanity in the last hundred years.’ So I listen for a while and turn the CD off. I can’t take it. The reviews on amazon.com mention the humor in the story and it’s there. But right now, all I see is the train wreck a’coming.

 

Speaking of listening—versus reading. I bought this for my trip to Houston. I always loved to rent CDs for long drives. That audio rental place has closed, but I found LeCarre’s novel on the sale rack at a bookstore. I was initially disappointed to see that LeCarre himself would not be reading the book. He’s a great reader of his own work. He does all of the accents and you can hear the class differences in his pronunciation. The actor that they hired is just as good. It’s been wonderful. I have only 1 ½ CD’S remaining. Pray for the very naïve Salvo. After all, he’s never read a LeCarre novel.

What I read

May. 1st, 2009 12:27 pm
ezekielsdaughter: (BookShelf)
I finished “The Graveyard Book” last night by Neil Gaiman.  There!  I’ve admitted that I purchased a juvenile.  I enjoyed every moment.  I was able to read a chapter a night for awhile.  Last night, I kept telling myself…just one more chapter.  Finally, I had to admit that I was not going to fold clothes.  I was going to sit and finish that book. 

It even has pictures.  Lo, how the mighty have fallen (laugh).  Back to “About Writing” now.
ezekielsdaughter: (babyWriter)
I’m reading Delany’s “About Writing”.  It’s dense and I am reading it only occasionally, so excuse me if the book comes up now and then.  I am also trying to get through Josephus’ “The Jewish War” again. 

Delany writes “Fiction is an intellectually imaginative act committed on the materials of memory that tries for the form of history.  That’s why a political climate pushing the individual to see her or him self as autonomous and self-sufficient is, by definition, a climate unsupportive of rich and satisfying fiction.”

So, in testing that in my thoughts I am thinking how much Southern fiction is lauded.  Same for Jewish fiction.  Both are fictions of community; they are each joyfully/painfully aware of the community that engenders them.  I was considering western (cowboy) fiction something that tests his rule. Isn’t that “outsider” fiction?  But most of that—and I’ve only read a little of it—is from the point of view of the community that has to deal with the outsider.  It isn’t from the outsider’s POV.  Now what tests the rule for me is SF.  It is often written from the outsider’s point of view.  But I think that Delany sees SF’s focus as being the plot, not the character.  And he’s talking about character driven fiction.  Maybe. 

“If one or more…of the characters in a story are unaware of the sociological levels that contour where they are and the choices they have open to them in the world, it doesn’t particularly matter.  But, as the writer is less and less aware of these sociological levels in the course of structuring her or his tale…the tale seems thinner and thinner, regardless of its subjective density.” 

Whereon, he discusses the sex and sin in the suburbs novels of the 60s, 70s, and 80s.  I would probably add the sex and sin in the city novels of the current era.  What makes them so thin to me is that the characters never notice or pay heed to their privilege.  I cheered when I heard Joe Queenan on NPR last week discuss why he wrote a memoir of his childhood now.  “Over the course of time, I got tired of listening to middle class problems.  Problems are food; problems are shelter; problems are a guy down the street has a gun.  Problems aren’t my dad doesn’t appreciate me.  Problems aren’t I didn’t get into Middlebury.  Those aren’t problems.  I wanted to talk about what poverty is really about.  …Don’t you ever take your good fortune for granted.” 

Delany writes: “..the basic way to produce a richly interesting fictive situation is to take a person from one social stratum and carefully observe him or her having to learn to deal with folks from another, either up or down the social ladder…One way of the other, directly or indirectly, good fiction tends to be about money.”

A learning moment.  I’ve been trying on the second draft to show my character’s difficulty in fitting in with her new ‘family’.  She should have the cultural history to do it:  she’s Black and from a time when we expected to work for the whole.  But she’s also middle-class.  She’s never actually had to give up anything.  How to show that growth in her?  A growth that is also a contraction, a tzimtzum.  I think that the plot elements are there, but the physical evidences aren’t there yet.  I am still telling and not showing.

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