Finished in 2024
There are 17 items here.
Finished in 2024
There are 17 items here.
This may be my favorite Wolfe short story yet. It came with a somewhat infamous reputation from Wolfe circles online, but I couldn’t remember why and can’t seem to dig up any of those discussions now. The blend of Wolfeian mystique, weird religiosity, and absurdly hilarious Kafka/Gilliamesque bureaucracy made for a satisfyingly surreal meal.
A fine thought experiement in scientific and medical ethics, with a bit of the grimy 90s Egan edge.
What made us so fixated on “art-crime” in the 90s? This story, se7en, Bowie’s “Outside”, and so on. For some reason we thought that what we ought to be afraid of was the disintegration of restraint in creative expression, and that the scariest villains were going to be brilliant and well-resourced artists!?
A little too dualist, “ghost-in-the-machine” for me, though there’s a bit of believable Permutation City dust theory in the mechanics of how the consciousness-untethering works. A philosophical sketch that was worth following along on. You could make a movie out of it.
While in Seattle for work, I met up with my best bookfriend and we walked to the Elliott Bay Bookstore. I invited him to choose any book in the store for me to buy and bring home, and he found Le Guin’s Lavinia. (We had an existing connection over her Always Coming Home, which we’d read through together a few years back.) Not far from it on the shelf was a Library of America compendium of five novels spanning her career and culminating in Lavinia, her last. So I chose that superset and committed to reading through them all. This was the first in the collection, from 1971, a sweet spot in the New Age era that I’d been freshly interested in since reading Anthony’s autobiography in which he eye-rollingly claimed that Le Guin had won a Nebula that was rightfully his; and had been craving more of since discovering Priest’s Inverted World.
In any case, the experience was thrilling from the level of the sculpting of individual sentences, all the way up to the Taoist theme running through the whole thing. I felt the moral questions and frequently paused to contemplate how one might even begin to formulate an algorithm for answering them.
“Come on up with me,” he said. “It’s raining already.” In fact it was, the endless warm drizzle of spring— the ice of Antarctica, falling softly on the heads of the children of those responsible for melting it."
The moral architecture of problems that extend beyond the current universe, or even planet: Is an ordinarily immoral act moral when it shifts the entire existence that generated our moral foundations in the first place?
I need you to the extent that-if your sense of obligation to me as a friend, and to the pursuit of knowledge, and to the welfare of all humanity, isn’t sufficient to keep you here-then I’m willing to compel you to serve a higher cause. If necessary, I’ll obtain an order of Obligatory Ther—of Personal Welfare Constraint. If neces-sary, I’ll use drugs, as if you were a violent psychotic. Your refusal to help in a matter of this importance is, of course, psy-chotic. Needless to say, however, I would infinitely rather have your free, voluntary help, without legal or psychic coercion. It would make all the difference to me."
This imagery:
One of these shops under the ramp was a secondhand store; the sign above the windows said ANTIQUES and a poorly lettered, peeling sign painted on the glass said JUNQUE. There was some squat handmade pottery in one window, an old rocker with a motheaten paisley shawl draped over it in the other, and, scattered around these main displays, all kinds of cultural litter: a horseshoe, a hand-wound clock, something enigmatic from a dairy, a framed photograph of President Eisenhower, a slightly chipped glass globe containing three Ecuadorian coins, a plastic toilet-seat cover decorated with baby crabs and seaweed, a well-thumbed rosary, and a stack of old hi-fi 45 rpm records, marked “Gd Cond,” but obviously scratched. Just the sort of place, Orr thought, where Heather’s mother might have worked for a while. Moved by the impulse, he went in.
These unconventional moments of infatuation:
“This is Heather Lelache,” said a soft, suspicious alto. An irrelevant and poignant sensation of pleasure rose in him, like a tree that grew up and flowered all in one moment with its roots in his loins and its flowers in his mind. “Hello,” he said again.
He liked the way she began her fierce, scornful sentences so often with a weak, conciliatory “well.” She cut the ground out from under them before they ever got going, let them hang unsupported in the void. She had courage, great courage.
Shukman has been my main conduit to Zen, and I’ve recently shifted from Sam Harris’s Waking Up course to his The Way course for a more focusedly Zen-based practice. I picked this up at the Elliott Bay Bookstore in Seattle, partly to have an excuse to look around for something there on my second visit in two nights, during a precious two-night stay there for work, my first time really spending time in the city since moving away eight years ago. This was a fine tour of the concepts undergirding the practices of The Way, and left me with even more of an appetite to find the right text for getting deeply into kōans, preferably in (modern) Japanese. I’ll treasure the memory of reading this with Robert Wyatt’s Comicopera in my AirPods at the Kanamachi McDonald’s, where I’d stopped for a maximally quick meal before picking up my kid at school: the pleasant discord of the Wyatt particularly amenable to blending with the background music and advertisements — logos and mythos; mind and soul.
Some say other life-forms are practicing too: trees are masters of stillness, fortitude, and graceful acceptance, and whales move through the seas suspended in oceanic awareness, communicating with one another across vast distances. Even smaller creatures move through their lives with the focus and intention of master meditators: ants tirelessly follow the call of their nature, and mice, moths, and patient cattle all practice and implicitly trust the life they are given.
We were hungry for inspiration. We tracked the contemporary poets we loved and then tracked the thread back to the poets they had loved: to Ezra Pound, Hilda Doolittle, and the Imagist poets of London just before the First World War. From them, we followed their provenance back to Wordsworth and Shakespeare, but also to ancient China, to the Tang dynasty poets they had loved and translated to Hanshan, the “Cold Mountain” poet, and Tu Fu, Li Po, and Wang Wei, who had wandered the ravines and cloud-wrapped peaks of the Middle Kingdom, stalked by vagabonds and monks who had given up on urban life and taken to the hills. There, entranced by lakes and streams, gazing at waterfall, drifting deep into the forests or high into the mountains, they wrote their clearest poetry. They drank wine and shed tears for lost friends. They also sat still in meditation, losing themselves, dissolving their minds into the peaks, becoming part of the land itself.
Instead, there is just this. Boundless. Perfect. Fully realized, fulfilled. Totally accomplished already. You. You yourself. Forever this. If you don’t feel the love, if you’re not quite getting it yet, then no worries. All of us will. We surely will.
So why is emptiness about love? It sounds more like the absence of anything at all, including love. There are two possible answers here. The first is that our human response to finding this basic emptiness is an eruption of joy. It triggers a state of blessedness. It’s like finding that all our life has ever been is an unconditional goodness. Somehow, stripped of all its show and disguises, bare existing itself is an unalloyed goodness. As if the most basic reality of all, beneath and behind every other, is a total absence, and to touch or taste it is to find the ultimate relief from all suffering. It is to find a truth that can’t be reduced or damaged or corrupted in any way. And it is to find that it is the ultimate core of our being. All else — all our life — is secondary.
After my reread of Bio of an Ogre, I was in the mood to better understand the New Age era of SF, and to find better specimens of its wild and challenging explorations of possible universes than Anthony. I had never heard of this book, nor of Priest himself, but upon hearing the briefest introduction decided that I ought to plunge in before learning anything further. As with music, it seems that somehow the 1970s just keep on giving.
Reading this over a Mexican burger at Brave in Kanamachi ended up being one of the more vivid reading experiences I’ve had, enshrined alongside The Source of Magic on the plane to San Jose as a kid, Children of the Mind in the De Pere bunk bed, A Fire Upon the Deep in Ballard after getting my wisdom teeth out, and so on. I look forward to the stores of pleasure waiting for me in the rest of Priest’s corpus. I particularly enjoy the mental state of being led through an aesthetically potent world, feeling just at the edge of having any idea of what’s going on, but trusting that something coherent is, in fact, going on.
Banks is a heavy meal, which I’m always glad to have enjoyed but reluctant to enjoy more than one of within the span of a year or two. The idea density is satisfyingly high, and I enjoyed a number of moments of staring off into space, savoring an evocative, galaxy-scale notion. But I did once again find myself wishing that the ever-building tension was toward something deeper, more universally philosophical, than the human adventure it ended up as. It does seem to me that Banks writes “true” sf, in a galaxy that is likely to really be out there and operating according to these principles in some corner of the greater multiverse.
A lightly edited account from messages to a dear book-friend, on why I worked through a distant reread of this book over the course of a couple months’ worth of nights waiting for my kid to fall asleep.
So I’m semi-hate-rereading Piers Anthony’s autobiography
Because it was the first memoir I ever read, at probably about age 11, and I wanted to do a bit of personal archaeology on that time
(screenshots of the 1969 Nebula incident)
🙄
The whole book is a heap of grievances spanning from “one time I got in this argument with a guy in the line to pick up our kids at school” to “Le Guin stole my Nebula”; boasts of what a genius he is but in a world where nobody is smart enough to recognize it; and non-sequitur objectification of women
All the same, I can’t help being compelled by the stories of his upbringing and early struggles as a writer — getting thousands of words out per day, in pencil on a clipboard on his lap while wrangling his infant daughter; adding another yet-unsold novel to the pile, while his wife worked to support the family for another month…
Getting in disputes in fanzines and writers’ conferences; it’s heady sci-fi new wave era stuff
Plus, he’s the guy who introduced me to fiction not-strictly-for-kids, which will always be a warm association
Remembering going on my first “long” flight at 9 years old, Chicago to San Jose, and my brother-in-law put his The Source of Magic in my hand to read on the plane
Which I did, the entire way, prolly accompanied by unlimited 7-Up or whatever
Later on, my dad brought me to Father Steve, the “cool” priest at our church, and prodded me to tell him who my favorite author was. “…Piers Anthony…”, at which he perked up and started telling me all about the other authors I should get into next. Not long after, he had a huge box of sci-fi for me, insisting I take the whole thing home and enjoy it.
It was an intimidating collection of books, and while I looked at them and flipped through them a lot, I only really got into a small fraction of them. I didn’t have the attention span, especially versus all the other entertainments of the early 90s, for much that was deeper than Xanth.
In retrospect, he recognized Anthony as an experimental 60s–70s new wave guy, and I knew him as an 80s settled, formulaic fantasy potboiler guy
Sure wish I had that few shelves worth of books now, tho
Or even that I could remember most of what was on it
Finished this while technically still in the middle of Gödel, Escher, Bach, the message of which this book was conceived to more succinctly and clearly convey. I’d like to spend more of my life in mental modes like Hofstadter seems to inhabit: his particular formula of deep scientific understanding, philosophical import, genuinely warm emotion, and general joie de vivre.
I was especially struck by the arguments and personal stories about identity and even consciousness being distributed across brains (and other substrates) via the influence we impart — a Dawkinsesque “extended phenotype” of the self.
Third read, this time with a solid foundation of having lived by the philosophy contained within for nearly ten years. Took my time, highlighting passages with particular philosophical or spiritual resonance, and writing many interrogatory notes. This remains the most important book to me, and one I hope to return to again and again.
This was precisely the book I wanted after Game Wizards: an account that covered the culture, creativity, and business surrounding D&D during the formative era when I discovered and devoured it. I came away with the impression that tabletop roleplaying is such an extraordinarily powerful and important technology that it shone through even the abysmal environment and practices of the company where it was invented.
This one was a bit more of a slog than the other Elric I’ve read so far, but I do have pleasant memories of reading it on my phone in the back of an eight-person van carting two families around Tokyo in the earliest months of our arrival there.
Some exhilarating moments of truly being able to imagine the deep history of humanity, especially the simultaneous existence of distinct human species. In particular, I was dizzied by the colliding of history and prehistory in the story of Eugene Dubois who was working in Indonesia to discover human species from millions to hundreds of thousands of years ago, but whose work was interrupted by the Japanese occupation in World War II, and required him to hide specimens until they could be safely studied.