Since I’m focusing on portraits for my Sandman re-read, we’re skipping past the rest of volume 1 (which I started here) and heading straight to issue 10. Volume 2 The Doll’s House is where the motif of portraits become interesting, especially in just the first few pages. We’ll talk about the first one today: a full page portrait of Desire on the first page of the issue:
How do you read a graphic novel? With full page spreads like these I take more time to examine the illustration before reading the text, let it sink into me like I’m in an art gallery. (With panels I need to read the text first for direction before I fully appreciate the image.) This image puts us into the realm of the Endless right away: the background grid of emptiness stretching into the horizon; white teeth gleaming, an uncomfortable oddity to the rest of the face and torso which is in shadows; gleaming red eyes; and a nebula of red not-stars around a planet-like heart.
The narration tells us that there is only one thing in the realm of Desire: this fortress, shaped in a giant “statue of Desire him-, her-, it-self”. An immense statue towering alone on a blanket of emptiness. The narration also identies the statue as a portrait “complete in all the details, built from the fancy of Desire out of blood, and flesh, and bone, and skin.” There is something cold about the statue, the dark blue tones echoing of cold marble or slate. The notion that it’s made of blood and flesh and bones and skins is slightly alarming. … did Desire dream it up? Is that what the text means with “fancy”? Or did Desire somehow acquire these materials to craft their self-portrait? … given the events of the last volume, perhaps it’s best not to ask.
The fortress/ self-portrait is called The Threshold. “Desire has always lived on the edge.” The text pairs nicely with the image as again we’re drawn to examine it; the background gives us a sense of that edge, an empty vastness marked off neatly with borders. The next page continues this theme as the fortress has “empty, echoing veins, like tunnels. You will walk them until you grow old and die without once retracing your steps.” Finally we’re drawn to the centre of the image, the heart itself, which seems almost to pulse. “There was only one place in the cathedral of its body to make its home. Desire lives in the heart.” While in most cases, the phrase “Desire lives in the heart” might be written off as sentimental muck appropriate for a greeting card, here the image is sublime again: something grand and terrifying. This affect is supported with the reference to a Cathedral, another large, echoing cavern which makes its audience feel humbled and awed in the face of something part divine, part alien. The first installation of volume 2 (following the prologue) thus begins with a firm reminder that the Endless are not human nor gods, but something else inexplicable. Something frightening.
Click here to see the second part of the Issue 10 read-along.
Continuing my discussion of portraits in Neil Gaiman’s Sandman which I began here, in issue 3, “Dream a Little Dream of Me,” we are treated to a portrait on the very first page. We see a suburban house and someone lying on the bed. The bed is in complete shadows, stark dark shading juxtaposing the lightness of the room. Only a hand is shown. The accompanying text describes decay: “Her hair comes out in clumps“; “Her skin is flaking“, “the ragged nails rip her skin when she scratches” (bold font part of original text). The narration draws the reader to assume that the text is referring to the person lying in the bed. “She’s counting to a hundred,” the narration says, alongside another text box (presented in different colours and typography) in which someone is counting. The narrative text continues: “Will she dissolve it in her mouth? Breathe it? Rub it into her skin”. The accompanying picture shows a hand reaching to bag sitting on the nightstand, open, with white power spilling from its opening. On the bedside table is a framed photo of a grinning woman, with a certificate of some sort in her hands. The woman is pretty. The picture is smashed. Lines of broken glass mar her face. And yet, the photo continues to sit on the small bedside table despite this damage.
When we turn the page, we see a shot of an alarm clock radio: “… for all of you crumblies out there, here’s one from the vaults. A real rave from the grave.” Was the narration not actually a description of the scene, but instead the DJ narrating a short section of prose before playing their next song? Our new protagonist, John Constantine, begins: “Have you ever have one of those days when something just seems to be trying to tell you somebody?” What an odd question. Flipped around like that. Instead of “somebody trying to tell you something.” Throughout the next few panels, we see that John is haunted. By snippets of music. By dreams and nightmare. Something trying to tell him somebody. Madd Hattie, who is 247 years old, warns him that Morpheus, the Sandman, is back. John dismisses it as a fairy story.
John Constantine is another DC original with his own series, Hellblazer (although you might be more familiar with him through the film or television adaptations, especially the Keanu Reeves 2005 film and the 13 episode cancelled series produced by NBC from 2014-2015). Constantine is a sorcerer, a working-class detective, and an occultist who regularly converses with angels and demons alike.
Morpheus aka Sandman aka Dream catches up with John 3 days later, in pursuit of a leather pouch full of sand. John thinks its in storage, but after 2 hours of searching finds nothing except an old photo. It’s a picture of John with a girl. The one from the bedside table? The portrait triggers John’s memory, and so we follow the trail of crumbs (in photo form) to find Dream’s leather pouch. Again, we see the picture John has found as he and Dream are in a taxi cab: “Everyone shuts up, and Chas jolts us up the motorway. Our visitor melts into the back seat shadows. And I remember Rachel. Amazing Rachel. Junkie Rachel.” Junkie Rachel who ran out on him and stole his stuff to pawn for junkie money.
When John Constantine and Dream find Rachel, the readers are shown the same scene from the first page: a bedside table with a framed portrait, pouch on table, the rest of the room in dark impenetrable shadows. We’re shown Rachel on the next page, nearly a full spread, naked, decaying, a living corpse. At the bottom of the page John lights a cigarette, an obvious attempt to regain his balance. “Jesus. Rachel. Jesus.” Next to this panel is the photograph of the two of them again. Like with the photograph of John Dee in the last issue, the portrait here is of a past nearly forgotten, of a life and identity that can never come to be again. But while in issue 2, the new image of John Dee haunts the reader, warning of the possibilities of the future, here the haunting gives a small sense of closure. Dream gives Rachel a happy dream before she dies, of herself restored, healthy and beautiful again. “She knows he’s waiting for her,” John, the love she ran out on. By doing so, Dream restores the reality of the picture, creating a dream space that doesn’t haunt but instead allows John Constantine to move forward and walk away from this image of the past. It ends the issue on an odd optimistic note: although Dream is on his way to Hell, John walks away singing “Mister Sandman” in good cheer.
Today I’m continuing my discussion of portraits in Neil Gaiman’s Sandman which I began here. There’s only one major portrait in issue 2, “Imperfect Hosts,” but it’s a good one. The first panel on that page introduces us to a building with the following placard in front: “Arkham Asylum for the Criminally Insane.” Are your alarm bells going off? What does the Lord of Dreams have to do with Batman and the Justice League?
Next we have an old woman, Mrs Ethel Dee, looking for her son who she hasn’t seen in a decade. The son in question is John Dee – the same name of an actual historical figure, court astronomer for Elizabeth I before leaving to pursue his passions in occult scholarship. If you’ve been following along with the dramas of the Order of Ancient Mysteries from issue 1, Ruthven Sykes, the order’s second-in-command, disappeared with the Order’s treasures, money, and Ethel Cripes, the Magus’s mistress. (The text is bolded in the script as well.) Ethel Cripes walks out on Sykes 6 years later. “She took the demon’s gift with her,” an amulet that was keeping Sykes safe.
To return to the present Mrs Ethel Dee and her missing son, Mrs Dee is armed with a photograph of the son in question, a black and white portrait of a handsome man with a chiseled square jaw and a hint of a smile on his lip. “This is my son, John Dee. I believe he’s imprisoned under his “nom-de-crime” of Doctor Destiny.” Further alarm bells should be ringing by now. Even if you’re not familiar with every single super villain in the DC or Marvel Universe, you’re probably aware that any Super Villain with a “Doctor” title, followed by an abstract noun are the worst super villains of all. (… Rest assured that my own Doc Fantasy title does not mean that I’m a super villain myself…). In the DC Universe, Doctor Destiny’s super powers is the ability to manipulate dreams. Gaiman here provides a neat retcon for the source of his powers, one that becomes a defining feature of Doctor Destiny’s character.
Arkham confirms that Doctor Destiny is indeed a patient there and Mrs Dee is led down to the bowels of the Asylum where Dee is kept locked up from society; he is too dangerous to be let out of his cell for any purpose, the guide tells her, stating: “He no longer sleeps, or dreams– in the normal sense of the word… and physically, he’s quite debilitated.” The ambiguity of this comment is intriguing. How can a man who – from the sounds of it – has wasted away be so dangerous? OR, is he dangerous because he no longer sleeps, is no longer, quite normal… or human.
Finally we are shown Dee himself: gaping mouth with broken and lost teeth; his face seems to be melting away as flecks of fluid drip from his ears, his mouth, his hands; and his eyes…. his eyes are not right, seemingly at once to be bulging and also set deep within his face; the shapes are odd, angular and pointed at the apex, and rounded at the bottom; and the colour is a soft sickly yellow with a small bead for pupils and no irises. Is this the same man… the same creature as the handsome figure in Ethel’s photograph? Instead of being haunted by the past (as the portrait in the first issue), the portrait here is of an identity long dead and forgotten; it bears no resemblance at all to the living present. Instead, it is the living creature that haunts the reader: not the echoes of the past and what he once was long ago, but instead the possible dread of a future in which John Dee escapes his cell. This isn’t the last we see of the character in Sandman of course, and for those of you re-reading the series, you know where Doctor Destiny ends up. But I won’t spoil it for those of who you are reading it for the first time.
If you want to see the next post in my Sandman read-along, click here.
Continuing my series of “how to student effectively” which I started here, today we’ll be talking about approaches to notetaking. As prep for today’s post I did a quick google search for notetaking methods. And. Yikes. What the heck is the Cornell Method? Why does it matter if I write my notes in columns versus sections? Are we being graded on our notetaking presentation?
So I’m going to go ahead and propose my own method. I’m going to assume other people use it too simply because while reading Brandon Sanderson’s Stormlight Archives, I came across a scene where one of the characters describe their notetaking method and thought “hey! I do that too.” So I’m calling it The Jasnah Kholin method after Sanderson’s character.
Okay. First of all, it doesn’t matter if your first set of notes are in columns or sections or morse code. Just get words on the page. This is especially true if you’re taking notes during a lecture. There’s going to be a lot of information thrown at you. If you’re worrying too much about making every mark in your nice, new shiny notebook perfect, you will never get anything down.
So you want to think about what medium is the quickest and most convenient for you. As an undergraduate, I brought a laptop to lectures. I was a fast typist and I essentially wrote out every single word spoken by the lecturer. This is not an effective note-taking process, and of course it depends on your typing speed. BUT, while it’s not something I generally recommend, ultimately it DID help me start to process how to take in information disseminated via lecture. (If you recall in my previous post (Identify Your Learning Style), initially I struggled to pay attention in lectures. So writing out everything was the best way for me to start paying attention.) But once I started developing the skill of listening to the spoken word for an hour+, I eventually began to listen to the whole while only taking notes on the “essential” parts. (We’ll talk more about identifying “essential” parts as this blog series continues).
Some lecturers cram a LOT of info into their lectures with very little visual aids. So a laptop or a tablet with keyboard (if you can afford either) might be a way to go. If you have a smart phone, you can look into pairing a keyboard to your phone. (You don’t need a top software programme to take notes during lecture.) If you want to avoid tech altogether, thay’s fine too. If your instructor provides handouts, you can consider taking your notes directly on that, or even directly in your book/textbook (only if you’re not considering reselling it later). Or if they post their PowerPoints online before class, you can print out an outline version. Alternatively, a simple notebook works too. I’ve started using a bullet journal for everything. I.e. ONE notebook that I use EVERYWHERE instead of carrying several for each subject. (I talk more about bullet journaling here.)
As I moved into postgraduate work I began preferring hand written notes more because it lets me draw connections better – and I mean literally draw connecting arrows. When I used to type my first draft of notes on the computer, instead of arrows I’d make a note that said something like “this connects back to what lecturer said earlier about x” . But taking the time to write that sentence is time you don’t have, so I prefer symbols and shorthand: this part on page 3 of my notes connects back to page 1, so I’ll mark both sections with a quick astrix or some sign making a shorthand connection.
Oh. And speaking of shorthand, create a system for words that you use commonly. Maybe you use a forward slash / to replace the letters ‘tion’ or you write out just the initials instead of a person’s full name. Who wants to write out Shakespeare 50 times when you can write WS? You might also want to consider symbols for phonetic vowel sounds. This is for when you’re not entirely sure what word the lecturer is saying or how to spell it (especially for proper names or technical jargon). Rather than worrying over the spelling of the word, try to write it out phonetically to look up later. (Personally, I think the English alphabet sucks for phonetics. So maybe figure out what the heck is a macron and long vowel sound, or develop an equivalent short hand that works for you. I – honestly – use the Japanese alphabet. I have not been able to read or speak Japanese since I studied it in grade school nearly 20 years ago, but I remember the alphabet and it’s a phonetical system so that’s what I use.)
Keep a key or index somewhere so you remember what the symbols mean when you re-read your notes. And for goodness sake, label your notes. Write the date, the title of the course/topic, and the lecturer (or author if you’re note-taking during reading/research instead of during a lecture).
Now onto the nitty gritty of note taking itself. The key thing to keep in mind (IMHO) is that there are multiple layers to note taking. First you start with a fact or concrete concept: A historical date; A chemical property; The name and artist of a painting; A physics formula; etc
I’m going to use an English literature example because that’s my training. Author/playwright/poet wrote x. That’s your basic concrete idea. A quote from a text. Let’s take an important Sanderson Stormlight quote to stick with today’s theme: “You must find the most important words a man can say.”
Next you (or your lecturer) add(s) layering and depth. You’ve got a quote. What does it mean? What does it mean in the context of that particular scene? Does the meaning change as the narrative progresses? Maybe you gain additional information about the world building or events later in the text. Does the meaning change depending on the point-of-view character? Does the meaning change for you if you go back and RE-READ the scene, this time with the knowledge of how events unfold and characters develop? Does the meaning change if you have extra knowledge of the author’s background or events in the world at that time? These are some of the questions that your lecture or required reading might cover and essentially what you’re taking notes on. (You are unlikely to cover every single question; these are just examples of layering. While I use English lit as a example, think about how layers and depth works for your field.)
Ah, but wait. We still haven’t talked about the Jasnah Kholin Method of note-taking. This is the part where you REWRITE your notes. Your first set of notes will be scribbles getting info and ideas now. Now take that draft and make it coherent and legible. Pretty it up in whatever format you want (columns or sections or whatever). But also make sure you’re synthesizing the information: cut out extraneous words or ideas that don’t add much info or knowledge; write out the loose connections and ideas and layers you formed in your mind but didn’t have time to write out fully during lecture. Add MORE connections if you think of them off the top of your head or include examples or practice questions. If you have the time, you might want to consider how the material in front you connects to earlier lectures in the module, or to lectures from an entirely different module. Maybe your discussion on Brandon Sanderson has points of connection with your Shakespeare module. Note that down!
Format here doesn’t matter. And that’s why notetaking techniques/blogs which focus on handwritten format is baffling to me. Format and presentation is not the important part. So long as you write it in a way that works for you. Maybe you’re typing up hand written notes, or re-writing them in a different subject specific notebook. Maybe you have a recording app on your phone and need to talk our your ideas. Maybe you’re writing them out on index cards as prep for studying for exams. Or maybe you got a poster board of each of your courses/module and you’re concept mapping your ideas. Maybe you’re doing a combo of things. (And please share if you have completely different techniques/format. I’m always interested in using different approaches myself.). The important part is you’re reprocessing the information into a medium and method that works for you.
The Jasnah Kholin method: Rewrite your notes. Do this the same day or within the week so that your ideas are still fresh in your mind and you can figure out what the scribbles and half-formed thoughts mean. But DON’T stress overly about adding further connections and layering immediately. (We’ll talk more about stress/time management later). A thought or connection might come to you after you read something else, or maybe while you’re taking a walk or in the middle of a shower. That’s your brain mulling over and processing ideas. But you don’t have to write down every single thought or piece of knowledge in your head. The rewriting method is not meant for you to solve the world’s research questions. Instead, by re-processing the information, you’re making sure you know and understand the material to build off it for further learning. And if you find that you DON’T understand the material, that’s okay too. This is why you’re reviewing your notes. Make note of your questions! Try to find the answer by working through practice questions, or in a study group. Ask your instructor at the next lecture or pop in to see them during office hours. (Seriously. We’re not going to resent the opportunity to chat about the subject we’re passionate about.)
An incredibly underlooked aspect to note-taking is making sure you understand the material. Your note-taking for a lecture/research isn’t finished until you’ve done that. Your set of re-written notes are the foundations of your essay/ project/ exam prep. And it’s a good, solid foundation.
Check out my “Tackling the Blank Page” posts for next steps on how to start a project/assignment. You can find the first of this series here. And check back in a few weeks for a series on exam prep and study tips. But in the meanwhile, check out the seminar prep and identifying your objectives for some advice that may apply to you. And tomorrow we talk about bullet journaling. Until then, take care!
After a 2020-apocalypse-driven hiatus, I’m diving back into reading with a Tolkien re-read. I hope you’ll join me on my adventure!
I haven’t read The Hobbit in nearly a decade. I’m sure the events of chapter one amused me when I was younger. But as my 34th birthday has passed me by a couple weeks ago, this time I was struck with feelings of ire on behalf of Mr. Bilbo Baggins. Here’s this polite, friendly guy, greeting a stranger with a hearty “good morning” and from that small interaction Bilbo gets stuck with a houseful of uninvited guests demanding seedcakes and telling him how they like their breakfast done in the morning.
At least most of the dwarves are a friendly, affable sort. But Thorin Oakenshield … well I wouldn’t him as my employer. Someone who’s too good to help clear the dishes? No thanks. Tolkien does an amazing job of painting a picture of someone who is puffed up with his own importance, while also indicating that the pride isn’t deserved. (Reminds me of the Tory party…..) Just look at his lineage. Grandfather Thrór is ran out of the North for reasons unknown. Luckily he stumbles across a huge pile of gold in his new mountain and declares himself King under the Mountain. In the South. (Nevermind the dwarves in the North.)
All that gold attracts a dragon, of course. Damn those greedy dragons. Which means Thorin is forced to flee with Grandpop and Dad and a handful of unnamed dwarves. (He doesn’t mention his dear mum. Guess dwarves are born from the ground or something.) The mighty king and heirs are forced to (make their people) work for a living. The horror! Instead of doing fancy smithing work for kings, the dwarves have to resort to the lowly job of blacksmithing and working mines. Thorin’s pride obviously takes a huge hit that his people have to do something so base. (Can you all see me rolling my eyes?)
I’m not sure how I would react if this guy showed up on my doorstep, judging my character while ordering his breakfast. To Bilbo’s credit he handles it with – not exactly grace – but with extremely good manners, going so far as to sacrifice his share of the cakes in order to be a good host.
Of course, it must have been the Baggins part of his nature that has instilled all that politeness and respectability as Tolkien goes on for a lengthy paragraph to state that the adventure-spirit comes from his mother’s side. And not just from his mother, the (im)famous Belladonna Took, but potentially there’s a fairy wife in the Took ancestry too. So the mother’s line damns him twice over. (Un)Luckily for Belladonna, she loses both identity and character when she becomes Mrs. Bungo Baggins. She stops going on adventures, gains respectability through her new name, and her husband builds her a beautiful and luxurious home – with her money. And really, what more could a woman ask for?
A couple years ago I finally got around to picking up a collection of Robert Lynn Asprin short stories as a taster (long overdue for a fantasy scholar, I know). Unfortunately, by page 2 I was wondering what the hype was about. Or, more accurately, whether the hype wasn’t fueled by the nostalgia factor. You know, a time where we didn’t (overly) concern ourselves with sexist racism (or sexism and racism).
“Myth-Adventurers” (2007), the first story in Myth-Interpretations (2010), starts off normally enough: two female characters chatting; one human (“a Klahd, actually”, p. 7; whatever that means), the other reptilian (something called “a Pervert… or Pervect if they knew what was good for them”, p. 7). A nod to interspecies racism, but still within the realms of the standard Fantastika set-up.
The first descriptive paragraph alludes to the idea that the two are killers with the “lithe, athletic, graceful look that put one in mind of a pair of lionesses discussing a kill” (7). Lovely metaphor. Paints a pretty picture of two kick-ass ladies and I’m settling in to enjoy their adventure. (Although I’m wondering whether lions are treated as animals or people in this narrative, but that’s just a stray thought.)
Then we flow into the next paragraph: “If their builds and manner weren’t enough of a giveaway, their outfits completed the picture. The Pervect, Pookie, was wearing one of her favourite” (7) -> here is where I turned the page and immediately regretted it:
action leather jumpsuits with multiple zippers which both issued a skin tight fit and held the tools of her trade. The Klahd, Spyder, was still working on her look, but today had settled for calf-high boots with fishnet stockings, a dark plaid mini-skirt, and a sleeve-less black leather halter top which left considerable portions of her midriff bare.
Asprin, p. 8
Here, I paused. Now I’m all for female empowerment and a woman’s right to choose what she wants to wear. If you want to wear calf-high boots with fishnets and a miniskirt, by all means, go ahead. I have nothing against a “sleeveless black leather halter top” except for the redundancy of the description (halter tops are, by definition, sleeveless). But I’m questioning how any real “killer” is going to be fighting in these outfits. Have you ever tried moving in a skintight leather outfit? Let alone one that “both insured a skin tight fit and held the tools of her trade”? How? How does it do both? Does her skin have any circulation?? But maybe as a reptilian species, she moves differently….
The description continues:
All in all, she looked like a parochial schoolgirl gone Goth gone biker slut.
Asprin, p. 8
No woman looks in a mirror and describes herself like that. Maybe a school-girl gone bad. maybe a goth girl. Maybe a biker-chick. But not a combination of the three, and definitely no woman aims for a “slut” look. The idea just seems to scream the whole “she was asking for it” mentality. You know. “What was she wearing when she got raped?” “Maybe she wanted to get raped.”
And then the description continues with this bit of ridiculousness:
Throwing stars and knife hilts jutted from their sleeves and belts, along with various mysterious instrument….
Asprin, p. 8
At this point, I was completely unable to continue reading. As Eddie Robson pointed out when I posted the excerpt on twitter, it’s nearly impossible to tuck knives into the sleeves of a sleeveless halter top.
Here’s my own artistic rendition of this outfit:
But now that I’ve made the sketch, I’ve realized it’s not tooooo far out from other kick-ass Fantastika females. I’m sure one of the first kick-ass female killers that pops into people’s minds is Buffy the Vampire Slayer (1997-2001), who regularly fights in leather and heels. And when I think kick-ass females, I will always think of Lucy Lawless as Xena: Warrior Princess (1995-2001). I mean, it’s in the title. If you haven’t seen Xena’s iconic, um.. armouring, then please do google it now.
Of course, it’s not just females that are made to be ridiculously overly-sexualized in books or in film/tv. Who can forget the show that launched the Xena spin-off, Hercules (1995-1999) with Kevin Sorbo’s deep-v sleeveless tunic? And really, any action adventure sword and sorcery-type film from the ’80s have plenty of bare-chested muscly men (I’m looking at you Schwarzenegger/Conan the Barbarian, 1982).
Given the context and history, Asprin’s description of his characters isn’t surprising. But I suppose my disgruntlement with Asprin’s work is two-fold. One, the posthumous collection published in 2010 would benefit from an introduction that glorifies the works a bit less. (I’d like to say that about ALL of the “classic SF” writers, actually. I’d like to see an introduction in classical-reprints that gives a small nod to the racism and sexism that many of these writers actively peddled). Perhaps I shouldn’t except the 2007 Myth-Adventures to be “woke” or sensitive, but, there is always a part of me that argues that, regardless of “the times”, writers and artists should do better.
But the second reason the passage aroused my pique only became obvious when I attempted to re-read the collection again, this time alongside Kurtis J. Wiebe’s Rat Queens (2013-). Rat Queens, if you haven’t read it, is…. how to describe it…? like a car-accident that you can’t look away from, but one involving a clown car crashing into a trailer full of dragons. At times violent, humorous, incredibly gory, and extremely touching. Now, I can easily see one of the characters (Betty, in particular) describe themselves as a “schoolgirl gone Goth gone biker slut”. BUT, and here’s the distinction for me, there is one thing to have a character describe themselves as such, and another thing entirely for an omniscient narrator to make the comment. And, right from the first two pages, it’s clear that the narrator has a voice, has thoughts and ideas about the look and carriage of these characters. It may be due to the difference in medium (narrative voice versus graphic art), but Wiebe’s graphic medium doesn’t have the same level of authorial commentary as Asprin’s narrative descriptions.
So I end this post with a plea. If you’re a writer, please, PLEASE think about how your narrative voice might unintentionally be peddling the male (or female) gaze. And if you can’t do that, at the very least think about if the outfit you described would be functional in an actual fight. Thank you.
After a December hiatus (tangential note: I blame Christmas for that; turns out it’s not a practical idea to make a handcrafted stocking for your baby while on maternity leave), I decided to mosey into the next decade with a re-read some of my favourite Fantasy books that I haven’t touched in years.
I’m now contemplating how many of these books I’m going to absolutely HATE now that I’m reading them as an adult; by which I mean, *not* as a person who disparages children’s fiction, but as a person who can think critically and is more socially aware. In most of my research to date I have focused on 1990-2010 literature, with a brief study dipping into the ’60s. When I started my postgraduate work, though I couldn’t put a finger on why, I knew that ’70s and ’80s Fantasy didn’t appeal to me. I’m desperately hoping as I continue my re-read that the horribly misogynist pattern that I discovered in Anthony doesn’t hold up for any other books I re-examine.
After re-reading the first 10 pages of Anthony’s A Spell for Chameleon (all I can stomach really), it shocked me how blatant the misogyny was. Keep in mind that I’ve been studying ’90s and ’00s Fantasy for the last decade, where authors like Robert Jordan and George R. R. Martin are accused of misogyny because of flat, stereotypical depiction of women (Jordan), or because of their mistreatment of the gender (Martin). And then we have Anthony, who doesn’t believe that women are people in any sense of the word. They are objects, or creatures, designed specifically to fulfill men’s “needs.” That idea doesn’t get more blatant than the chapter where the main character plants and grows a nymph in order to have her as a sex slave. (I didn’t read that far, but it all came screaming back to me as I started the book.)
As early as page 2, we have the main character introduce the supposed love of his life (the woman he wants to marry, or, at least, the women he has to marry in order to have sex with her). The passage reads:
All plants had their enchantments, but no spell could eliminate the need for light, water, and healthy soil. Instead, magic was used to make these necessities of the vegetable kingdom more available, [….].
Bink looked at the girl beside him as she stepped through a slanting sunbeam. He was no plant, but he too had needs, and even the most casual inspection of her made him aware of this.
Piers Anthony, A Spell for Chameleon, p. 1-2
So here we have a man who has brought his beloved out to a romantic lookout point in order to ask for her hand in marriage, and the first thought on his mind when he sees her is how he has “needs”. Are you swooning with the romance of it all? And what a segue-way; contemplating the needs of a plant to a needs of a man. It’s an awkward transition because there ISN’T an nice, normal, respectable way of blatantly stating that women are there to be sexual partners for men.
There’s not much more I can add to this criticism that reviewers Jason Heller and Oren Ashkenzi haven’t already said in their detailed breakdowns on why the book/series/author is horrible. They’re both worth checking out, as they each bring a unique take on the misogyny. Heller dwells into some of Anthony’s other books to flag the pedophilia that keeps cropping up. And Ashkenzi uses the text to give practical lessons on writing; his paragraph-by-paragraph analysis gives a good idea of how Anthony’s novel could have been so much better.
The one thought that does occur to me in re-reading these pages is it’ll be interesting to see whether other ’70s and ’80s Fantasy books have aged well. While reading a handful of reviews posted on other blogs, the theme that kept popping up for me is people who read the work as a teenager and loved it, but re-reading it as an adult realized what a disgusting misogynist mess it is. I wonder if this has to do with maturation (although the main character is nearly 25, he comes across more as a teenager and may appeal more to an adolescent crowd), or whether we, as readers, have become more critically aware. I’d like to think it’s the latter; the young adults of today seem to be a much more socially-conscious group than earlier generations and I can imagine a number of young adults picking up the book and immediately objecting to the obvious male gaze and objectification of women. But I can’t help but contemplate the effect this hugely popular author has had readers in the ’70s. Among all the negative reviews, there are also a number that praise the book for it’s “refreshing” take on sexuality. The very idea leaves a bad taste in my mouth, and I hope I’ll be able to stomach other re-reads as my great adventure continues.
Thoughts While Re-reading Douglas Adams’s Hitchhiker’s Guide
Although I remember Douglas Adams’ The Hitchhiker’s Guide to the Galaxy (book adaptation 1985) as a favourite read, I approached the prospect of re-reading the novel with a mixed sense of pleasure and hesitation. Although I couldn’t remember the specifics of plots and scenes, I recalled moments of amusement and contemplation from when I read the book the first few times.
Given all that, it took me awhile to figure out why I was reluctant to read the book again. It took me about 20 pages to put my finger on it: The Hitchhiker’s Guide is one of those texts where the film adaptation (2005) has completely rewritten the imaginary world I had created in my head! Within the first page of chapter one, in fact, with Adams’ description of his main character, Arthur Dent, the image that leaps into my mind is that of Martin Freeman. From that moment, my inner narratorial voice itself speaks with Freeman’s voice. Now, this may be because Freeman has a distinctive voice that is easily recognisable, or because Freeman is a phenomenal actor, but the effect it leaves on me is one of resentment and discouragement. Despite watching the film only 1-2 times, as the first 20 pages unfolds, the story that runs through my head is the movie itself. Freeman getting irate in his bathrobe. Enter Mos Def stage right. And, given that Mos Def’s character, Ford Prefect, is described completely differently in the book (“His hair was wiry and gingerish and brushed backwards from the temples”), I think it’s understandable that I’m put out that his image replaces the character I had originally imagined in my own head.
Now, don’t get me wrong, I love Mos Def as an actor. He brings a charm to any role. And, I suppose in this day of inclusion, the thought to change the character stemmed from a requirement to make sure that all the characters didn’t look homogeneously the same (especially as half of them are aliens); although, of course, this moves risks casting Mos Def as a token character. (We won’t dive into my thoughts on the lack of representation for the ginger community, and the implications of re-casting the “alien” character with another visible minority.)
So I don’t necessarily object to casting Mos Def in the role of Ford Prefect. But I am dejected that my original picture of him has been lost.
Interestingly, Roger Egbert’s review of the 2005 film states that: ” You will find the movie tiresomely twee, and notice that it obviously thinks it is being funny at times when you do not have the slightest clue why that should be. […] I do not get the joke.” His review relays that the film was inaccessible for those who were unfamiliar with the book; indicating that those who remember the narrative and scenes were likely those who were already familiar with the book.
Did the movie (or other adaptations) replace the book adaptation version in your head? Or is there any book/film adaptation that was ruined for you as a result?