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Below are the most recent 22 friends' journal entries.
| Friday, December 25th, 2009 |
alasdair
|
7:50p |
30 Days – Day #25: My Day In Detail
Well, I woke up, scratched, swung my legs out of bed, put one foot in front of the other, etc etc.
Yeah. You don’t actually need all the detail, do you?
I’ve had a bloody lovely day. Bucks Fizz and a croissant, the company of my family, a phone call with my grandmother, a turkey dinner, a walk at dusk and a bit of TV – The Gruffalo and then Dr Who. The former was excellent, the latter was saved by John Simm quite literally chewing the scenery and Bernard Cribbins being exactly as good as I’d hoped. Really very frustatingingly part one of two, and the big reveal at the end had virtually no shock value at all.
Notable gifts: a stock pot, and a copy of Larousse Gastonomique. Next year: soup!
I am fighting the tempatation here to gush about Miranda and my family, because it’s them that put my festive spirit back, but the rest of you don’t need my vomiting up joy and rainbows everywhere.
So instead, one last set of holiday wishes for you all. Hope yours was a good as mine.
This entry was originally published at Black Ink |
alasdair
|
9:35a |
30 Days – Day #24: The Holiday Season
The holiday season is in full swing, and while you’ll hear all about my day in full boring detail later, because that’s the next topic, I thought I’d use this “whatever tickles your fancy” to talk about the holiday season in general, and what it means to me.
I’m not religious in any sense that Christmas or any other midwinter festival could possible have any meaning for me. But I do love this time of year. I like that it’s been around in one form or another for thousands of years, like a groove etched in our collective psyche that says “it’s dark and bloody miserable out there. Take a bit of time to remember be good to one another, why don’t you?”
I feel like the days between Christmas and New Year are a time when we hit the collective pause button, and spend a bit of time with our nearest and dearest without any particular obligation to do anything but vegetate collectively. Work can sod off, plans that aren’t “let’s stay in and eat and drink, and maybe watch a bit of telly” can be paused. Everything else is window dressing – the family gatherings, the gift exchanges, the lights and the tinsel they’re all lovely, but really they’re just how we dress up a collective rest period to make it a bit more special. Remind me at some point to talk about the Lancastrian tradition of Wakes weeks in Summer, and why we really ought to make them apply to office work all around the country,
Honestly, by the point in the year, I’m ready for a few days of dead time, and battery re-charging. I’ve been having to fight to sustain a good mood a bit for the last month – November and December always kick the shit out of me a bit at work, and things have otherwise been a bit busy and stressful. One of my resolutions for next year is to have a more relaxed November and December, with less social run-around, because I don’t think I’ve had a week with less than three social engagements since October, and while I love you all, I don’t feel I’ve had much “me” time, and more time off work, because I’ve worked up to the last minute the last two years, and when your major clients are large pub chains, that means there’s a lot to do, and it’s put a crimp in my festive spirit.
So come back later today, to hear all about how I got it back.
Compliments of the season to all of you. May your holidays be filled with cheer.
This entry was originally published at Black Ink |
| Thursday, December 24th, 2009 |
alasdair
|
1:24p |
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| Wednesday, December 23rd, 2009 |
alasdair
|
7:05p |
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| Tuesday, December 22nd, 2009 |
alasdair
|
4:56p |
30 Days – Day #22: A website
Just one? But I’ve worked on so many…
Debenhams was the first website I ever did any professional work for. This is Local London was the first website I was responsible for the upkeep of. ipoints was the first website I ever really enjoyed working on. I’ve spent the last few years working on a bunch of websites for various large pub companies, and that’s been fun.
But I can’t really do a rundown of sites I’ve been involved with with putting Ninth Art squarely at the top of the list. It ate 5 years of Andrew’s life, and a lot of Antony’s and my free time on a less sustained basis. It remains the single website I’m proudest to have been involved with, even if most of what I wrote for it make me cringe now, but y’know, some of it’s coming up on a decade old, so y’know. I still don’t know how much of an impact 9A had on anything, really, but what I do know is that a number of people I like and respect were kind enough to say good things about the site, and every now and again, I do randomly meet people who remember the site, and say kind things about it, and even if the site did nothing else, I do very much miss sitting down with Andrew and Antony over drinks and talking rubbish about comics, and it gave us an excuse to do that.
I’m quite profoundly fucked off about the error at the DNS company that lead to us losing our two original domain names for that site, and having to buy the .org instead, and do periodically check to see if their of them have become available again. I also keep promising myself that I’ll rebuild publishing engine for the site, just because I’d like little things like nicer URLs on the articles, even if it is only an archive these days.
I’m kind of vaguely looking for a project on a similar scale to get involved with again, just because, well, 9A has been inert for a few years, and I don’t like that the single website I’m proudest to have been involved with is that old. There’s a few other websites I’m working on that I really like, but they’re small, private community things, rather than anything public, and I do quite fancy doing something digital and public that isn’t just blogging again – I don’t think I’d write for anyone again, but the idea of building a bespoke content management system for a website I genuinely cared about, that’s got some appeal, and I know I’d do it better this time around. One to think about a bit more in the new year, I guess.
This entry was originally published at Black Ink |
| Monday, December 21st, 2009 |
alasdair
|
11:04a |
30 Days – Day #21: A recipie
3 pepper pasta with chorizo. Serves 4. This is something I cook quite a lot – it’s easy to vary the ingredients a bit, depending on what I have in the cupboard and who I’m cooking for. I suspect this will make a lot of the more serious cooks on my friends list cringe, as it’s really not a lot more than “throw everything in the pot, and warm it up”, and I’m probably committing some basic culinary crimes in here, but it tends to come out both tasty and filling, so I’m happy enough with it.
Ingredients:
500g Tagliatelle Pasta
700g jar of passatta
250g pomodorino tomatoes
125g chestnut mushrooms
450g chorizo.
1 large onion.
3 cloves garlic.
1 red bell pepper
2 romano peppers
1 (or more, depending on taste) small red chilli
1 teaspoon smoked paprika
1 teaspoon mixed dried herbs.
Chop the onion – not too finely, but you’re not looking for massive chunks, either. Chuck in a pan (I use a heavy iron frying pan with high sides) on a low heat with a generous slug of olive oil (there’s a lot of veg going to fry in this, so I tend not to bother measuring it, and just trust that the veg will take a fair bit). While that’s sweating and softening, finely dice the bell pepper, and then throw that in as well. Take a moment to enjoy the smell of slowly frying onion, then finely chop the romano peppers as well, and add them. Give everything a good stir.
Chop the chorizo into small cubes. This can be a bit of a pain in the arse – I tend to slice it into 1-2cm rings, then quarter them. Don’t add it yet – you’re just doing it now because the peppers can take bloody ages to soften. Stir the peppers and onions every so often while you’re doing this, and remember to stop and enjoy the smell.
Chop and add the small chilli(s) – I use one for people who don’t like spicy food, two if I’m just cooking for myself, and three when I’m cooking for total spice monsters, but personally I don’t enjoy the three chilli version. I don’t de-seed them, or scrap out the pith, because I want the capascin bite along with the flavour, but I guess that depends on how you like your chilli.
Halve and add the tomatoes. A tip I picked up from watching Heston Blumenthal – when chopping the tomatoes don’t slice them top to bottom, slice them horizontally through middle – it results in a more intense taste. Apparently this is because quite a lot of of the flavour of tomatoes comes from the interaction od some chemicals in their skin with chemicals in the liquid pulp, and slicing them horizontally drags more of the skin chemicals through the pulp.
Chop and add the mushrooms and throw them in. Then finely chop the garlic and add that, along with the diced chorizo. And yes, stir everything again. Leave it all going on the low heat, stirring every so often until the mushrooms look cooked, and the chorizo has released a decent amount of oil – it’ll start colouring the mushrooms, which I personally find very pleasing, for no reason I can adequately explain. At that point, you want to add the passata, and leave it all to simmer gently. After about ten minutes, add the paprika and dried herbs, and stir them in.
At the point you add the passata, put a (very) large pan of water on to boil for the pasta. Don’t cover the pan – the time it takes uncovered water to boil is useful to give all the flavours in the sauce time to infuse, and you’re keeping the sauce on a low-medium heat, anyway, so as long as your stir it ever so often, it’s not likely to burn – I don’t recall ever burning this, and I’m fully capable of burning water.
Once the pasta water is boiling, add the pasta – cook it like you usually would – some people salt the water, some people add a bit of olive oil – whichever your prefer. The timings for this kind of assume you’re using a fresh pasta that should cook in about 5 minutes, but I don’t imagine anything that takes less than 10-15 minutes is going to change things very much.
Obviously, taste the sauce as you go, to check you’re getting a flavour you like. Things I often wind up doing: adding a bit of salt, or a generous quantity of ground black pepper, or a bit of chilli/tabasco sauce for bite. This isn’t meant to be a fully-on spicy sauce exactly, but still, people should know there’s chilli in it, you know?
Serve with freshly grated parmesan. Goes well with a light-medium bodied red wine, or a peroni-type lager.
Substitutions you can make easily: Swap some or all of the chorizo for chunks of chicken, or for extra mushrooms – you may find your want to add more chilli with less chorizo. There’s a Lloyd Grossman brand pasta sauce base that’s made with peppers rather than tomatoes which makes a really great substitution for the passata, it’s just a bit hard to find sometimes, which is why I most often cook this with passata. And obviously, you can throw out the shop bought passata and make you own tomato sauce base if you’re so inclined, but I’m not.
This entry was originally published at Black Ink |
| Sunday, December 20th, 2009 |
alasdair
|
9:36a |
30 Days – Day #20: A Hobby Of Mine
I skipped past photography yesterday. I’ve talked about roleplaying before. That’s the big two out the window, right there. I’m honestly not sure that blogging counts as a hobby, and nor does pissing about on the internet. So here’s a thing it honestly surprises me to be writing about: cooking.
I love food, this much is no secret. I like to eat in posh restaurants (and less posh restaurants – good food is good food, and it doesn’t have to be fancy), and I can talk about tastes and flavours in a pretty convincing manner.
But in the last year or so I’ve started to take more pleasure in cooking than I ever have before – it used to be something I didn’t do, then it became something I did because I liked the end product, even if I didn’t enjoy the actual process, but of late I find myself taking pleasure in the cooking itself.
I’m not a very skilled cook, especially not compared to the huge list of Serious Cooks among my group of friends, and doubt I ever will be, but as long as a recipe doesn’t require much of an attention span or any particularly difficult culinary tricks, I seem to do OK. I did black pudding with caramelised apple, and a cider reduction a few weeks ago, and some basic marinaded pork with peaches turned out so well I made it again the following night. Given that a year ago, I basically cooked the same three pasta dishes a lot (and I still do, because they are bloody tasty) I count this as progress. I made a sage and rosemary butter for the first time last night to go with some pre-purchased venison tortellini, and while it hardly counts as cooking, as it basically required me to melt some butter and throw some herbs in it, then add lemon juice once it was off the heat, it was still something I’d never done before, and will be doing again.
I guess the big difference from before would be that a year or two ago, I cooked what I cooked, and that was it, but now, I’m much more willing to give something new a go, and even once I have, I find myself thinking of other dishes I could so something similar with, or wondering “what would happen if I replaced the sage with…” Not everything works, but before when it didn’t work, I’d have given it up as a sign that I couldn’t cook, but now I tend to make a note of what not to do, and think of another approach – I tried to do a pancake filling made of plums and bananas that didn’t end well (came out bloody tasty, but it was essentially a mess of disintegrated plums combined with sugar, butter and rum with some sliced bananas floating in it – it was tasty, but it wasn’t what I wanted) and I’ve got a pasta sauce involving mushroom and black pudding that I haven’t got right yet – I’m trying to get little cubes of black pudding to crisp up to provide texture as well as flavour, but they either come out soft, or they totally disintegrate into the sauce. But I know what I’m going to try next time…
This entry was originally published at Black Ink |
| Saturday, December 19th, 2009 |
alasdair
|
4:38p |
30 Days – Day #19 – A Talent Of Mine
I take pretty pictures. I’m sorry this isn’t a longer entry, but I’ve had a busy Saturday already, I have a cold, and I urgently want to take to my bed in order to prevent said cold from wrecking me, because I have stuff to do tomorrow, and I’ve got to be in work next week. So you get a short entry, with instructions to go and look at my photoblog instead, and with any luck, I’ll be feeling a bit better by tomorrow.
This entry was originally published at Black Ink |
| Friday, December 18th, 2009 |
alasdair
|
7:04p |
Links For Friday 18th December 2009
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Just a thing worth noting, should I ever be required to set up a service that needs payment processing with Paypal. Shitty behaviour.
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Weird, and sick. I cannot fathom a motive to do this that doesn't leave me faintly nauseous.
This entry was originally published at my workblog. |
ladymoonray
|
3:50p |
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alasdair
|
2:30p |
30 Days – Day #18: Design
There’s been a lot of stuff about Art in this meme. There’s been precious little about Design in it. I like design, and back in the early days of this iteration of this blog, I spent a short while explaining what I think its relationship to Art is.
So having skipped past the need for that re-cap, I thought I’d now witter on a bit about what sort of design I like, and I thought I’d start with a couple of links to designers I know.
Phil Clandillon. I worked with Phil in a little yellow room in Acton. Dark Days. Phil’s particular knack is coming up with really interesting and clever shit using unexpected technologies. The Kasabian “Football Hero” video was him, as was the AC/DC music video that was an Excel spreadsheet, as were a few other clever things that you can find out about at his portfolio there. What I like about Phil’s best work is the strength of his ideas – the execution’s important, too, but I like the fact that Phil isn’t just turning out websites any more, but is in a place where he can come up with genuinely orginal stuff that pulls in all sorts of digital media, and generally makes me think “I wish I’d thought of that”.
BERG. BERG is the sort of place that I would love to work for, but quite frankly, am not clever enough to do so. What I love about their work is twofold: one, is that it tends to be cutting edge, at least in terms of thinking, if not technology, and two, that it tends to be made the with the aim of enabling people to do things – they’re makers, rather than marketers. Also, how can you not love an agency who named themselves after of something out of Quatermass?
Between those two, I find I’ve very neatly encapsulated what I love about design – it’s the means by which people’s ideas shape the world, and bit by bit, change our lives. Here at the start of the 21st century, if you’re not engaged with design as a (very broad) field on some level, I do kind of wonder what you’re doing with your life, apart from taking up resources that the rest of us could be making better use of.
So that’s design as idea, and design as world-shaper, which is all vitally important background, but what about aesthetics? After all, that’s what most people think of when they think of design.
Well, I only really qualified to talk about my own sense of aesthetics, and me, I’m a pretty unabashed Swiss modernist. Give me clean, clear lines, plenty of white space, and attention to simple detail in the service of clarity. Sure, I can appreciate the cluttered, hand drawn and grungy look – I quite like the work of people like Courtney Riot or Christopher Cox, but honestly, give me plain black text, well spaced, on a white background every time – a bit of simple elegance. If I had to pick my favourite font, it’d be Helevetica Neue – just about the only font face that is more precise and tidier than Helevtica.
This applies in just about everything from ink on paper to products to architecture – I love simple clear lines and an absence of clutter. Those who have seen the spaces I inhabit and the general state of my desk are probably laughing themselves sick right now, to which I can only remark that very often, really good design is an aspirational thing.
This entry was originally published at Black Ink |
ladymoonray
|
10:35a |
Snow day!
Amusement provided by people attempting to drive through the village. |
| Thursday, December 17th, 2009 |
alasdair
|
7:18p |
30 Days – Day #17: An Art Piece
Well, I’ve talked before about one my favourite works of art, Marcel Duchamp’s Fountain. So my obvious choice is out.
So let’s talk a little, instead, about my favourite painting, Wright of Derby’s “Experiment on a Bird in an Air Pump“. Mostly, what I love about it is the quality he’s given the light. I could stare at if for hours, just contemplating the use of light and shadow in that painting. But even aside from that, I like the themes, the way the different members of the audience are reacting to the progress of science, with expressions ranging from disgust to fascination.
I like the way that all the moral outrage in the painting is reserved not for the fate of the poor bird, but for the effect that the bird’s plight is having on the people watching it – how dare this scientist cause us distress? It seems to me to sum up a lot of the problem with people’s attitude to science, which is simultaneously that it can be terribly harmful to the natural world, but that the reality is most people don’t care about the harm, as long as it doesn’t cause them distress – that there’s a basic hypocrisy inherent in denouncing science and progress while living with the comforts that it has brought us all. Most of the figures in the painting are either unbothered by what is happening, and are far more wrapped up in the other people around the experiment, in some way of form.
I particularly like the fact the of all of them, it is only the scientist who is looking out of the picture, engaging with the viewer and the wider world.
This entry was originally published at Black Ink |
ladymoonray
|
12:03p |
Christmas at work
This is the view from my desk. In the middle, you can just see that there's a tiny christmas tree right at the top of the mast on the Thames Barge. How the hell did that get up there?! |
alasdair
|
10:41a |
Mag+
My goodness – a work related post that’s not a linkdump.
The clever bastards at BERG are thinking about the future of magazines. Worth watching.
Mag+ from Bonnier on Vimeo.
This entry was originally published at my workblog. |
| Wednesday, December 16th, 2009 |
alasdair
|
11:04a |
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| Tuesday, December 15th, 2009 |
alasdair
|
7:06p |
Links For Tuesday 15th December 2009
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This is unreal. I know that beat officers are getting more and more direction from above that harrassing photographers and videographers is not a crime, but seriously, I think there perhaps needs to be a bit more that that. Perhaps a total relaxation of the powers relating to photography, because that this can happen in London is just nauseating.
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I have a soft spot for really, really tacky christmas ligt displays. I'm glad they're not as common here as they are in the US, but oen now and again is fun. This one, however, is *really* impressive.
This entry was originally published at my workblog. |
alasdair
|
1:35p |
30 Days – Day #15: Some Useful Background
So today’s meme-mandated topic is fanfic. I have nothing interesting or useful to say about fanfic – I haven’t read any in years. So I thought I’d talk about something that is at least slightly relevant to fanfic: copyright. Or rather, the history of copyright. I’m still working on what it turning out to be quite a long bit of writing about the Digital Economy Bill, and what I’m opening it with is a brief background on the history of copyright, which I thought might make good reading in any case…
Let’s start by admitting something: copyright is a good thing. That can get lost in all the shouting about piracy, and draconian measures and three strikes and creative commons and all the associated jargon. So it’s important to admit up front that copyright is a good thing, and the ideals it was created to protect are still good and valid today. We do need to provide a system to incentivise people to produce creative works, otherwise large parts of our culture will up and blow away. And it was in that spirit that copyright was first codified in England in 1709 by the Statute of Anne, or to give it it’s full title “An Act for the Encouragement of Learning, by vesting the Copies of Printed Books in the Authors or purchasers of such Copies, during the Times therein mentioned.” (Incidentally, in case anyone’s wondering what people did before copyright law was codified, then you’ll find that spending five minutes looking up the term “book curse” will pay interesting dividends.)
It gave creators rights over their work for 14 years after creation, and gave them the ability to extend those rights for another 14 years on application. It also expressly ensured that distributors retained no rights to control use of the material after first sale. If you bought a book, you were free to read it in public, sell it on, or use it as kindling if you so wished – so long as you didn’t make your own copies and distribute those, you were in the clear. But after that time was up, the works would pass into the public domain, for the common good.
I’m not going to bore you with the full history of copyright, I just wanted to bring up the full title of that 1709 act. The spirit in which copyright law was created was that of education, and of safeguarding the common good, to balance the rights of creators and of the public. The rights of distributors, however, were quite expressly limited.
But then, in 1709, there wasn’t a lot of demand for books. The person who printed the book was quite likely to also be the person who sold the book. And if someone in Edinburgh wanted a book that had been written in London, they either got a friend to in London to buy them a copy, or they wrote to the printer and asked them to post it. Distribution was not really something that people worried about.
But the world moved on, and a revolution or three later, people in Edinburgh expect to be able to buy not just books, but CDs and films made and published not just in London, but in New York, or Beijing or Sydney. And over the last hundred years or so, distribution has become very, very important. Entire industries have been founded on the fact that actually, the job of creating and printing something is the least difficult bit of the process, and that the hardest part was first making people aware of the product, and then getting the product into the hands of people who might want to buy it. And copyright law changed because it served the common good to ensure that the people who did the marketing and distribution were incentivised to do so.
And then we invented the internet. And now my friends can make films, and write books and record music in their own homes, and with a little effort, they can tell people all over the world about them, and they can sell them to anyone that’s interested. Suddenly, marketing and distribution are the easiest part of the process.
And that’s where things start to go wrong, because there are now entire industries that are rapidly becoming irrelevant who can only remain relevant by appointing themselves as gatekeepers of what can be done with created works. And that’s the background to the Digital Economy Bill.
This entry was originally published at Black Ink |
| Monday, December 14th, 2009 |
alasdair
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7:07p |
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alasdair
|
12:27p |
30 Days – Day #14: A non-Fictional Book
Oh, all right, I’ll play along this time. We can’t all be expected to speak English good, and god knows I’ve made far more egregious typos in my time.
I havered about what to write about here, though. I probably own more non-fiction than fiction, as long as we discount the comics, and are a little generous with the classification of some of the more lunatic bits of occult reference I own. I’ve got journalism, I’ve got reference, I’ve got history, biography, travel, collection of opinion pieces and so on and so forth.
I could spout on about HST, I could bring up the perennial bleak favourite “Dark Heart” by Nick Davies, over a decade old now, and I don’t imagine the problems it’s talking about have magically gotten better, I could even talk about one of the cookbooks I own, and almost never use.
But honestly, the single aspect of my non-fiction collection that brings me the most pleasure is the shelf full of books about London. I know, I know. I think I’ve done pretty well, so far, not banging on about London, but I’ve just made my annual pilgrimage back to Northern Ireland, and after a couple of days in a place that’s at once home and Not London, London is on my mind.
Whenever I pop into my local book store, the first place I gravitate to is the London section. I had to flee the gift shop at The Museum of London, before I had a truly ruinous shopping accident.
What I love is the diversity of books on London. There are histories, both city wide, and localised. There are books charting some trend of other, or the development of some industry. There are guidebooks up guidebooks. There are maps, both ancient and modern, there are histories of maps, there are books about London’s place in some wider context, there are books of photography, poetry and fiction.
Yes, I know they could be found for any big city. Don’t care. London’s the one that’s caught my imagination, and I am delighted that it’s a place that seems to have caught the fascination of so many others, because it means I’m never short of some new non-fiction to read.
I’ll try and be a little less predictable tomorrow.
This entry was originally published at Black Ink |
| Sunday, December 13th, 2009 |
alasdair
|
11:57a |
30 Days – Day #13: A Fictional Book
Note carefully: not a fiction book. A fictional book. So I’m going to talk about the Sigsand Manuscript.
The Sigsand Manuscript features in the stories of Carnacki the Ghost-Finder by William Hope Hodgson, one of a few works published roughly contemporarily with Conan Doyle’s Sherlock Holmes that I like almost as much.
The Sigsand MS, as it is generally referred to in the tales, is one of the devices that Hodgson uses to ground the tales in reality, which is sort of why I wanted to talk about it, because at first sight that sounds absurd – how can something fictional be used to ground something in reality?
Obviously, some of it is just that it’s part of the internal reality of the tales, but the greater part of its function rests in the way that it is referenced. Where Lovecraft and his inheritors tend to refer to their many, many fictional texts (and this was very nearly a piece on the cultural importance of the Necronomicon) in tones of hushed dread, as rare and special things whose secrets were enough drive men mad, Hodgson’s characters refer to the Sigsand MS as common knowledge, at least among themselves – talking of it’s contents like “The Saamaa ritual” as things that they are all familiar with the detail of. While it contains information that is obviously fantastic, information on how to deal with the supernatural, it is always referenced in terms that make it seem as if all the characters already know this information, and whenever Carnacki is called upon within the stories to draw on it’s contents, it is always in the sense of falling back on a familiar set of tools. Even in extremity, when Carnacki is in great peril, and an unknown agency recites the most secret of the lore in the MS “The unknown last line of the Saamaa ritual”, the description of the consequences given is:
“Instantly the thing happened that I have heard once before”
Even the ultimate secret is something Carnacki has felt before. This is a known, if impressive and fearsome quantity.
Further, its contents are not entirely presented as mystic, but as something that can be employed as reliably as any scientific method, and often within the trappings of science – Carnicki uses an electric pentagram, and develops a thing he calls “the spectrum defense” – bands of projected colour – as a means of combating the supernatural.
There are Carnacki stories in which his science fails him, but invariably in these stories he turns out not to be fighting the supernatural at all, but rather the monster or haunting turns out to be a hoax.
And so it grounds the works in a reality, where laws and the scientific method apply, and indeed triumph of legend, myth and the irrational. And in the process, Hodgson takes his place toward the head of an entire cannon of fantastic literature, where the fantastic is treated as just another science, with rules and principles that can be taken from one form, and reapplied in another – one can draw a line from the likes of Hodgson and Carnacki, right through to Mieville and the biothaumaturges and punishment factories of his fantasy world of Bas-Lag. And this is important, because it’s this willingness to treat the fantastic are very real, rather than a thing to wondered at in and of itself that allows for the better brand of fantasy that is used, like the best SF, as a tool to examine our present condition, as opposed to looking back, in the manner of Tolkien, or Lewis, at some pastoral idyll, or religious mythology.
This entry was originally published at Black Ink |
zoo_music_girl
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9:49a |
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