…of black dogs…

I’ll be blunt with the confession; I have chronic depression. I’ve had it for just over twenty years now, going on twenty-two.

There have been ups-and-downs. This past half-year has seen one of the ‘ups’.

No, depression has had nothing to do with the slow blog output, or at least I don’t think so. The past half-year has seen me more lucid and emotive than I’ve been in a very long time, possibly in as long the mentioned twenty, going on twenty-two years.

Why am I mentioning this?

First of all, Rousing Departures serves as a writer’s journal, amongst other things – at least as much for my own benefit as anyone else’s. And it’s in part because of wanting to write, I’ve engaged in protracted ruminations on mood and the like.

Who do I let into the home I write in? Who do I let in my writing area? Are there people who disrupt my state of mind in a way not conducive to writing? What smells/sounds/space/…?

I’ve made a few changes. I’ve ousted a few passive-aggressives, closet racists and self-pitying misogynists, who frankly, in addition to the obvious, really rub me too far up the wrong way to be allowed so close to home. I’ve ousted people who treat my writing space as their entitlement.

Mood was itself, a means to an ends, but now, upon reflection, it’s become more important than that (and in turn, may have more important implications for my writing than I’d imagined).

When you’re in one of the ‘downs’, you can fall into the trap of normalizing things, and just surviving your way through the turmoil. You can lose track of what exactly, it feels like to be unafflicted; convincing yourself you’ve recovered, that you’re restored, when in fact you’ve only had a moderate, partial improvement. Repeat the process, and you can rachet yourself down into a deep low, all while normalizing it.

I fell I’ve fallen into this trap a half a dozen times over the past two decades. The result has been a ‘she’s al’right’, before driving myself into the ground, again, for the nth time. Each recovery incomplete, and each subsequent downward turn starting from a reduced baseline.

It’s a bit of a family tradition on my Father’s side, downplaying medical inconvenience and just making do. Once when my father broke his jaw and had it wired up, he couldn’t wait to recover and eventually took to the wiring with a set of pliers. It was a similar story with the stitches from his vasectomy (this being prior to the use of dissolving stitches).

I’ve taken to myself with a knife before, in the interest of health, and I’m pretty sure a more recent scalpel-plus-sandpaper therapy wouldn’t be covered by Medicare, either.

Having had an unprecedented ‘up’, I’ve been afforded the opportunity to confess I’ve been in progressive phases of denial. Aside from being in a more able mood for confession, it’s a lot like having climbed the side of a steep hill, enabling a view of the topology of my previous mental state.

(The litmus test for reaching these new heights has been the ability to listen to Amy Winehouse, and Dave Brubeck, and feel something. This music couldn’t have resonated with me in say, 2007.)

This isn’t the first time I’ve made any such confession, of course. The difference this time is in the scope. Back in the day, I admitted I had temporary problems associated with unpleasant events – fights, bogan torture, blows to the head, stress, workplace poisoning, etc. All these seemed to correlate with my melancholy (but which caused which, or what caused either or both?)

First I was put on tricyclics, which lasted about three weeks. (Medication this antiquated may give you an idea of the historical length of both my awareness and denial).

Then I was put on an early SSRI. This provided little-to-no benefit, while bringing a lot of side-effects into the mix. It didn’t last, and it has to be said that the projectile vomiting while discontinuing, wasn’t a high-point.

That was then, and we’re here in the now.

When I get in a rut, it’s not like what a lot of people think about depression. It’s not so much that I get sad, it’s more that I become listless, numb and have difficulty concentrating. Not that I’ve ever self-mutilated in this state, I also tend to be overly tolerant of pain and physical damage (I have permanent damage to connective tissue in my right foot, thanks largely to this undue tolerance).

It’s the ability to concentrate that I value the most out of all of this. While I may have long since lost the ability to fall in love, I’ve still had experiences of high mental clarity recent enough to be well remembered and hence desired. Or at least, I still remember enough of these moments to want something like them.

If you’ve been reading my writing for any number of years, you may be familiar with the typographical results of my late night coffee-binges. Lack of sleep and caffeine certainly enters into it, but it’s never been a sufficient explanation for all the malapropisms, or the occasional failures of logic.

It seems I may have normalised the fuzz in my skull just a little too much, for just a little too long.

There have been newer SSRIs released since I was last prescribed, with at least a couple of graduations of improvement. In the last couple of weeks, I’ve been prescribed and SSRI released in recent years, and it’s already showing noticeable signs of working. Indeed, this early on, it’s already performing better than what months of what I was prescribed in the 1990s achieved.

This improvement, during a seemingly unprecedented ‘up’.

The results are thus far mixed, being early days. I’m waiting for things to plateau and smooth out. My sleep has been disrupted, and I’m only just starting to show signs of being able to catch up. I’m a little tired writing this right now.

However, in the mornings, I’m no longer groggy at all, and my motivation doesn’t seem to flag as the day goes on. And then there have been moments when my mind feels like a steel fucking trap. Or rather, the love child of a steel fucking trap and a fucking titanium scalpel.

I’m less easily distracted, yet without becoming obsessive. I can feel more than I could a few weeks ago, emotionally and physically, and it’s not too unpleasant.

I can feel the cold on my skin in a way I haven’t been able to in ages. I can feel the chill from a carafe of water an inch away from the back of my forearm. I can feel the breeze on my perspiration, and I can feel the salt water well-up in my eyes when I yawn.

At most, this kind of thing has been information, rather than experience, yet experience I seem to vaguely remember somehow.

The unfolding of these new sensations and feelings don’t, however, stop me from focusing on whatever problem I’m mulling over. I just acknowledge the stimulus out of the corner of my eye, with a smile, while continuing with what I’m doing – it’s no juggling act.

At least, this is when I’m not too tired.

Again, I still have sleep to catch up on, and I’m told things will continue to improve for another three to four weeks before levelling out (all I was looking for was something to ameliorate the next ‘down’ in advance). I’m not sure where I’ll be with any of this in a month, and to be honest, I’m not sure if I won’t revise my judgements on my track record by then. I’m heading up a very steep hill, seemingly very rapidly, so who knows what things will look like from up top?

(If there is a side-effect, and I’m not sure it’s a side-effect, that I want to get over, it’s the change in either my taste in coffee, or in my ability to make it. Every damn coffee these past two weeks has tasted horrible. Maybe I’ll have to revert to Blue Mountain, or Turkish coffee.)

For the sake of consistency, all long-term writing projects are being put on hold as I try to find and organise my writing space anew. I guess in this respect, I am experiencing disruption, although of a secondary nature, and ultimately as a productive process.

I’m not too fussed about the ‘suffer for your art’ nonsense. I’ve never believed it. It’s always seemed to me that suffering’s relationship with creativity is as a side-effect of being sensitive about gaps in the world; gaps that the creative seek to fill in the first instance, irrespective of any suffering. My ‘suffering’, if reflection serves, has at any rate only ever hindered my creativity.

Perhaps if I was going to be made insensitive, to be anesthetized, then I’d worry. But as I’m feeling things more, rather than less, this isn’t the concern. The trick, I think, will be in not forgetting my past with The Black Dog, and thus taking my newfound clarity for granted.

We’ll have to see if and how this alters my prose and argument as things run their course.

~ Bruce

The Benny Hill Imperative

My father used to love Benny Hill, going as far as calling the man a genius (unlike more modern comedians, naturally). This, much to my dismay.

More to my dismay though, more than even my father’s emulations (which were even more ‘blue’ than Hill), was that this in some respect rubbed off on me, either through enculturation (this quite possibly being the most oxymoronic use of the term ever), or through the passing on of a genetic tendency. No, I don’t run through the parklands in fast-motion chasing scantily-clad women, nor did my father.

*** Continue reading “The Benny Hill Imperative”

Bloody hell!

Ideally, about now, I’d be writing a post about creating a stable writing environment; smells, sounds, comfortable writing tools. As it’s been, I’ve had a hundred things up in the air, looking like they’re just about to come down in the right configuration. Then suddenly, what appears possibly like hard drive failure (again), or a clapped out power-supply (my first guess), gives me a little kick to the back of the knee while I’m caught looking up during the juggling.

At any rate, nothing is lost. So far, the way I’ve been organising things in the cloud, and with redundancies here and there, the only thing it looks like I’ll be losing is a little money and energy. Still, the timing; just as things were starting to come together!

(Even my body-clock looked as if it was starting to recover from a few surprise weeks of peculiar hours, now finally over).

Things were aligning nicely. Perhaps this time next week, I’ll have good news to report on this particular front. Perhaps with photos.

At any rate, I’ve got a few new tunes to listen to, which seems to help in getting into a creative space. Disruptions aren’t what they used to be.

It’s just you end up learning a little more respect for writers, and what they have to go through to get in the groove, when you decide to not just soldier on, publishing any old shit. Especially when your resolve is tested by these little intrusions.

~ Bruce

P.S. Actually, opportunity cost wise, this may considerably offset my efforts in finding a nice writing chair. I need a better writing chair.

Easter eggs

Only last night I was chatting with Sean of Blogonaut fame, and I mentioned something about editing…

@SeandBlogonaut My words usually end up in their natural, night-published state, typos to be found like Easter eggs in the morning.

(Me, last night.)

This morning, bleary-eyed but with the prospect of an egg-hunt in mind, I crawled out of bed telling myself even before properly awake, ‘I bet that sentence in the conclusion of last night’s post has a your/you’re malapropism’. Alas, yes! Easter egg found (and snatched away)!

I suspect my executive functions don’t work that well around midnight. I know I keep promising myself I’ll proof before publishing in the morning, yet I routinely break this promise.

Anyway, I need a coffee to go with my egg, so I’ll be off now.

I’ll just say in parting, that I take comfort in that finding an Easter egg on first getting out of bed, is a better surprise than finding something in your jocks.

~ Bruce

Sauce…

At base there are two things you have to understand about making sauce – good sauce – if you want to create something worthwhile. These being aiming for the right ratio of ingredients in the end product, and combining them in the right way (at the right speed, the right time, and the right heat) so the mix doesn’t split.

But it’s not enough to simply know this; you must have, and must cultivate an instinct for it. Some people just can’t make good sauce.

People who’ve been reading my material for some time, may have expected to read a headlong charge at religion the first moment this website was launched. Aside from a single piece of satire, and mentioning my intended attendance at the Global Atheist Convention next year, I really haven’t addressed the topic.

This has been intentional, and will continue for some time.

At least until I’m a little more grounded in this process, I’ll be focusing on the other ‘ingredients’ I intend to add to the roux at this early stage.

The elements of prose will be bubbling away for a while yet, forming a base for everything that follows. This being the first time I’m experimenting with the recipe, I’ll be checking and double checking, stopping to reflect on the taste and take notes. Feel free to grab a spoon and have a sample yourself. Continue reading “Sauce…”

A stage in the continued emergence of literary sensibilities…

It’s been a colourful few weeks since the quiet start of Rousing Departures. I’m still graduating back into the swing of things, mind you; getting a feel for all the buttons and switches, all while exploring a few new avenues of literary experience.

A good part of the fun has been Embiggen Books’ recent #bookshopsaredead event on Twitter. Essentially a light literary exercise, the gist is to come up with variations on book titles that reflect the changing state of the industry – what with the electronic book taking sales away from flesh, blood and paper booksellers.

‘Schrödinger’s Bookshop by John Gribbin #bookshopsaredead #bookshopsarealive’ was a pet favourite from my own attempts, and Warren’s ‘Do Booksellers Dream of Electric Books by Philip K. Dick’ was particularly apt. Also existentially angst-inducing was Russell Blackford’s apocalyptic ‘The Bookshop At The End of The Universe by Douglas Adams’.

There were of course, a number of other wonderful contributions, no less enjoyable, only I don’t want to repeat myself and I’m running out of the effulgent language I’d need to describe them all. Call me overly sentimental, but I feel from my end as if the experience has been comparable at least to some of what the ‘pussy is bullshit’ episode from Hitch-22 (the one that had Salman Rushdie producing ‘Octobullshit’) had to offer its participants.

Unfortunately for Embiggen, prior, and giving context to this fun, a sewer pipe burst at their new Melbourne location only a few weeks after opening. With a forced temporary closure, the chosen theme is deeply ironic. I hope the black humor has at least been as good for them as it has for the rest of us!

Embiggen Books, demonstrating considerable morale, have taken the product of this spree of words to artfully produce a number of beautiful posters, displaying them across their storefront during the closure. Producing something looking a little like this… (I’m flattered). Continue reading “A stage in the continued emergence of literary sensibilities…”

Unpacking…

The new home is built, the power is on, the phone hooked up and the migration has more or less finished. Here we are.

Feel free to slump on the lounge, or at least the parts not occupied by all the packaging. All the critical chores are finished. It’s time for a little relaxation.

I’ll call up and order some takeaway, if you can open the wine and get the nibbles out of the fridge. Perhaps we can see if we can get something on the telly, or set up the stereo.

If we still have enough energy, maybe we can unpack a few more boxes a little later. Just be sure that if we do, not to open the ones marked ‘id’. Those are personal, thanks.

A few pieces of furniture are still to arrive, and I’ve got spaces marked out for where I plan to put them. See the masking tape?

Mind you, I’m still not completely decided on where I’m going to hang things. Perhaps you could have a wander around and make suggestions, or point out anything that looks wrong.

I’ll be assuming a relaxed pace for the time being, probably keeping closer friends around until things are ready for the house-warming. But still, maybe we can have a bit of fun before then.

~ Bruce

Post #1000: The End

It’s trivial that all good things come to an end; so do all the bad and mediocre things. In little nibbles and great gulps, entropy consumes us all. We just mark the time with the comings and goings of each other’s company.

This poor blog of unintentionally grandiose title and unarticulated, vague, meagre aim, has had its time struggling to find a clear raison d’être. Ironically, now that the purpose is beginning to coalesce out of the smog, it’s become clear that this blog’s reason-to-be, entails its own end.

In the beginning I had urges – urges to rail against stupidity, dishonesty, snobbery, chauvinism, racism, xenophobia, over-privilege and piety. Urges and little more.

Like most people with the slightest pretension to writing, I screamed my voice up into a maelstrom above. Like one of a mass huddled in the basement, clawing up at the floorboards of a burning house – for the most part unobserved by the rest of the world. Most of us, you and I, have been trapped down here, or somewhere like it.

Either for yourself, or your peers, the aim is to break through to the surface so at least someone can climb up and out. Maybe someone will reach down and help. Maybe you and your cohort will conspire to escape.

Continue reading “Post #1000: The End”

It seems I’ll have to make my own exceptions to Hart’s rules

On pg. 382 of my New Hart’s Rules, ‘20.10 Blasphemy, obscenity, racial hatred, and official secrets’ says…

Publishing a work which contains contemptuous, scandalous, or insulting material relating to the Christian religion is a criminal offense, punishable by a fine or imprisonment. Note that only the Christian religion is covered by this law and that merely attacking Christianity is not blasphemy: the attack would be blasphemous only if it were contemptuous or insulting.

(New Hart’s Rules, 2005)

Which is to say that any attack is at least tantamount to blasphemy, contempt or insult being as easy to conjure, and as hard to dismiss as an unfalsifiable Freudian diagnosis.

I also don’t like the fact that blasphemy is lumped in the same section as racial hatred. A smear by association – I don’t, as a blasphemer, think it fair to lump me or anyone else with the same tolerant disposition towards race, with bigots.

And at the very least, the discrimination inherent in making a special case for protecting Christianity alone demonstrates that the law isn’t interested in equality. By all means, report the law (actually abolished in the UK in 2008 – after this edition of Hart’s Rules was published), but the unnecessary value judgements are something I can do without.

Oh, and on that part of Western Christianity where you’ll find a long anti-Semitic streak, I’ve left a great big, fat, hot, steaming metaphorical turd. Of course the flies were already there before I metaphorically passed my bowels, being attracted to the scent of a thousand and one shitty Passion plays, Mel Gibson’s included.

I simply shat in what was already a latrine.

I hold the original charge of Deicide in contempt. I hold the concept of The Mark of Cain in contempt, and not just the Jew-hating interpretations.

Contempt!

~ Bruce

Science fiction is really beginning to annoy me…

Dedication: To anyone who may find this interesting, but more-so to the science fiction fans most likely to find it offensive.

Science fiction, probably more than any other genre has the capacity for meaningful speculation. When executed deftly, it’s differentiated from its cousins in the broader fantasy genre in that within science fiction, consequences matter. There is an internal logic, obscured as much of it may be from the reader.

If resurrection violates this internal logic, the dead stay dead. The passing of a loved one of a protagonist, or the protagonist themselves, means something.

The logic, if it violates current scientific understanding, must at least explain the discrepancy. Either it is additive-speculative, or it rests upon the current scientific knowledge being wrong in some respect. The proverbial alien railway station is an (IMHO, much overused and abused) example of the former, Harry Harrison’s To The Stars trilogy, resting upon an assumed error in Einsteinian gravity, is an example of the latter.

X-Men, with its constant magical resurrections, and it’s bastardised contortion of evolutionary theory and genetics, is techno-fantasy. Anything physical can happen and it won’t violate the internal logic. Doctor Who is much the same. Any sufficiently advanced technology is indistinguishable from magic, as apparently is any scientific speculation sufficiently beyond an author’s ability or motivation.

The strengths of X-Men and Doctor Who come mostly from their ability to appeal to emotion via allegory and other methods and elements. There are no consequences. X-Men are resurrected with such frequency that nowadays the script writers mock themselves by explicitly giving no explanation at all. And how often do you hear The Doctor say “But that’s impossible!” only to find out that it isn’t, or “but they were wiped out!” and they weren’t?

Anything can happen, anything can be undone, and hence nothing matters nearly as much.

And oh am I sick of prophecy. Someone needs to throw James Gleick’s Chaos, and Nassim Nicholas Taleb’s The Black Swan at these people.

Just mapping the initial conditions is bad enough, without considering the computational power and inherent epistemological barriers placed upon any conscience – i.e. the proverbial Black Swan that everyone thought didn’t exist. Prophecy doesn’t work.

Prophecy is a blight upon humanity, misleading all with overconfident platitudes that at best serve to dupe people into fulfilling the prophesy, possibly causing catastrophe along the way – human history is riven with such misguided disasters.

Why not explore the risks inherent to prophecy? Instead, usually you’ll get some sagely figure smugly nodding after the protagonist has just got the picture.

The Truth of prophecy is confirmed once all the plot elements come together like a broken teacup rising from the floor to assemble itself upon a table, just in time for our hero to take a sip. Usually with no cause or reason at all.

It would be bad enough if it were only this silly. But it’s worse. It’s a wasted opportunity.

Apocalyptic visions have been used to manipulate and to console through the convenient removal of uncomfortable ambiguities, and they still function this way today. Prominently. Having a prophecy with no critical exploration is a waste of a chance for exploration.

Bring back the ambiguity. Make people uncomfortable. Screw comfortable. Get people thinking about the nature of prophecy and questioning the way it informs politics.

Interlude I: Battlestar Galactica is particularly notorious for its light-handed, fawning treatment of prophecy, and deserves to be rebuked on such a basis. No amount of “Oh, maybe the prophecy was wrong”, followed by “Oh wait, no it wasn’t. We should have had faith all along”, in the remake, can save it.

And while we’re on the topic of supposedly inevitable plot developments, I have a suggestion for script writers and authors of anthologies with contrived story arcs.

If your characters evolve in a different direction to that which you had envisaged in your original, convoluted plans, so much so that it makes elements of the plot unlikely – make changes to the plot rather than cripple the development of your characters. Evolution isn’t teleological, nor should it be for our proxies in your story – it cheapens them and reduces them to obviously designed clichés and then how are we supposed to meaningfully relate to them?

So how to treat this kind of thing?

Here’s an idea for a season’s story arc.

  • “The elders have foreseen that you will prosper and lead us to victory over our oppressors”, the wizened ones tell our protagonist.
  • … our hero dies from an unforeseen and mundane accident – something like an undiagnosed food allergy the prophets apparently weren’t aware of – a third of the way through the season.
  • The remainder of the season sees the disillusioned survivors trying to reconcile their ideals with their empirical reality, the very concept of prophecy being deconstructed along the way.

Importantly, by the end of the season, this conflict between ideals, prophesy and evidence would not be resolved. Because if there’s something I loathe in stories passing themselves off as science fiction more than the uncritical acceptance of prophecy, it’s moral didacticism.

I am so sick of having the protagonist give us a contrived lecture. Contrary to what the writer may be thinking, and contrary to what a bunch of old stuffed shirts think about classical literature, moral didacticism isn’t morally engaging. And it’s not particularly convincing in science fiction stories either.

Imagine a 31st century wedding – the best man toasts the groom and the groom. “I’m glad we could have such a loving couple marry, not like back before The Eugenics Warstm!”

The lecture is obviously there for our benefit and thus breaks the fourth wall in a manner that should only be permitted in farce. An individual living in a morally advanced culture where gay marriage is and has been practised for a long time is bound to take the practice for granted – so they would find little need to deliver a polemic on such occasions.

Star Trek is riddled with this kind of moment-breaking, critically un-engaging tripe. Usually fired over some ignorant sod’s shoulder, out of the screen and at the viewer by captains of starships. Firing morals at the audience is a bad, bad way of getting them thinking about morals.

It’s like Gene Roddenberry has descended from his mountain top to deliver the Flying Spaghetti Monster’s edicts to us. “Thou shall not…” Script writers shall not use exposition to opine. Roddenberry can clamber back up his mountain and take the gold-pressed latinum tablets with him.

Give the reader or the audience an opportunity to explore an issue – that’s what you want to do if you want to morally engage with them. Use the speculative powers of science fiction to design a thought experiment – a problem to solve. Have the protagonist attempt to solve it, and if the dilemma is resolved then have it done in a sufficiently morally ambiguous fashion that the reader can’t deduce endorsement from the choice of the protagonist. And have the decision weigh on the characters. Have them doubt themselves.

The problem in The Genesis of The Daleks, that of The Doctor’s choice whether or not to commit genocide against a species far more genocidal, was executed perfectly in this respect. Whatever decision The Doctor made would have weighed on him, and the viewer (unless conceited) wouldn’t be able to arrive at a conclusion as to if the decision was the right one. This indecision leaves the audience thinking about the ethics of the scenario, which is what you really want if you have any artistic or moral integrity.

Although, if you are in it to generate a franchise to merchandise to a cult following, I guess anything that preferentially attracts those who don’t think for themselves is what you’ll want to use. Anyone wanna buy a second-hand tricorder? Star Fleet uniform? Spotted Trill buttplug?

Interlude II: I’M SICK OF HEARING LASERS AND EXPLOSIONS IN THE VACUUM OF SPACE!!! YES, I MEAN YOU ORIGINAL BSG!!! PIPE DOWN BACK THERE!!!*

So what am I saying? If only we went back to the Golden Years? Clarke, Asimov and the others?

Hell no. I loves me some Asimov, but no.

I’m not even a genre purist – I love the work of Michael Moorcock for example – psychedelic-techno-high-fantasy-with-optional-scenes-of-incest-and-remorseless-genocide have a place on my shelf. (Although I think Behold The Man belongs strictly within the confines of science fiction and is a decent piece of literature at that.)

I even have room for steampunk (Sean).

What’s more, I think character development has fared better in hands other than those of the classical science fiction authors. Newer protagonists and antagonists are more easy to relate to – more real.

Asimov’s The Gods Themselves is an excellent book. In terms of its imaginative-additive scientific speculation, it is probably one of the best (Hugo and Nebula award-winning) science fiction books ever – possibly the best. The speculative plot device in question being the exchange of elements between two Universes between which the weak nuclear force is different – resulting in the production of energy from the decay of impossible isotopes in both Universes. But with the laws of physics of both bleeding into each other – catastrophe becoming increasingly inevitable. It’s good speculative science fiction.

But…

The characters and dialogue leave a bit to be desired. At least amongst the human characters. The alien characters were oddly interesting and fleshed out in such detail that I found they became easier to relate to. Conversely, I found the interplay between Denison and Selene in the third book to be particularly wooden, which while in itself not necessarily a problem – some people are a bit wooden and this would at least have suited Denison – they were too wooden for their developing relationship.

Specifically, the flirting between Denison and Selene (“did you sell any?” haw haw haw) was like a bad attempt at casual by alienated IRC denizens. As much as Asimov may have tried to make it convincing, you just can’t see Selene leaving her relationship with a flawed, controlling partner, to embrace Denison’s stilted attempts at laid-back charisma, despite his prowess as a scientist. But then, writing about women wasn’t amongst Asimov’s many strong points. Indeed, this was a problem with the golden age of science fiction in general.

I’d like to see Asimov’s rigorous, golden age approach to the science in science fiction repeated. But I’d like newer takes on the characters. Resonance between the audience is at its height when the consequences matter for the characters, and when the characters themselves are plausible and more easily able to draw empathy.

Further to this, I think the whole genre can and should be subverted. Particularly through the adoption of elements of weird fiction – which predate the modern genre-niche both the golden age of science fiction, and the more contemporary, more commercial pap rests within. Or at least a perversion of these weird elements could be used to subvert science fiction. I think this is the key to maximise the resonance of a newer kind of science fiction.

“The true weird tale has something more than secret murder, bloody bones, or a sheeted form clanking chains according to rule. A certain atmosphere of breathless and unexplainable dread of outer, unknown forces must be present; and there must be a hint, expressed with a seriousness and portentousness becoming its subject, of that most terrible conception of the human brain — a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the daemons of unplumbed space.”

(H.P. Lovecraft, ‘Supernatural Horror in Literature’, 1934)

It’s often been pointed out how looking up at the stars can fill you simultaneously with both exultation and existential loneliness. This is more-so the case amongst the godless who don’t have a deity to fill that loneliness – something that should on some level terrorize both the religious and the godless (the former being at risk if their faith fails).

Why then can’t a merely natural, as opposed to a supernatural agency, be responsible for a weird kind of horror? How hard would it be to pervert Lovecraft’s analysis to this end? A perversion with…

“A certain atmosphere of breathless and unexplainable dread of outer, unintuitive forces must be present; and there must be a hint, expressed with a seriousness and portentousness becoming its subject, of a terrible and most alien conception of the human brain — a cruel and uncaring suspension or refutation of our calculated laws of nature which are our only safeguard against the unforgiving vacuum and energies of outer space.”

I think this could both compliment and subvert the current genre, back into a pre-genre state more closely resembling a proper part of literary tradition. What’s more breathless than the vacuum of space? More of an unexplainable dread than a lethal environment our senses haven’t evolved to deal with? What’s more portentous than the sheer scale of The Universe? Who needs demons or Outer Gods?

Combine this abysmal, yawning terror with the awe and majesty of the cosmos, and you’ve got a meaningful backdrop for the conflict that drives your story.

Plunge well crafted characters that ring true into a Universe like this, where consequences matter, and I defy you to show me that it couldn’t move your reader!

Still, nobody seems to be doing anything like this. So until someone does or someone points me toward something different, I’ll have to remain increasingly annoyed with science fiction writing for some time yet. Grrrr.

~ Bruce

* Seriously, the original Battlestar Galactica wasn’t a science fiction series, it was a noisy pinball machine that used clichés in place of steel balls.