The third Fleet Foxes album arrives after a six-year hiatus and lands beard-first into the debate on the role of the artist in 2017: to reflect the complex real-world landscape or to make an oblique and beautiful piece of art?
We have entered the age of the woke space opera where war crimes and mass slaughter are perfectly acceptable as long as they form part of a journey towards redemption and self-improvement.
He tells me about a taxi driver he’s met in town. The man hated contemporary art, but has been converted by the artists he has taken to and from the gallery. “He absolutely loves it now. He feels like he’s part of the conversation.” You can tell the story delights Johnson, an artist who insists on everyone’s right to be seen.
This film was such a disappointment! I had high hopes for it, the trailer was gorgeous, and it had Studio Ghibli attached – so what could go wrong?
I should say, first, that the art work is lovely throughout; the detail and realism of the island backgrounds and wildlife are worthy of Studio Ghibli, or other Japanese animation like the films of Mamoru Hosoda. The human characters bear no resemblance to saucer-eyed anime characters, and did seem more ‘French’ to me, reminding me of artists like Moebius (I may simply have been pre-biased by knowing it was a French co-production, or this may just be due to the fact that it does not look like anime or Disney). The sound effects of the natural world, as well as the soundtrack, are also superb.
The story is of a shipwrecked man stranded on a deserted island. After exploring the island, he builds a raft from bamboo and attempts an escape. Some invisible force destroys the raft a short distance from the island, and the same thing happens when he builds a second, bigger raft. A third, still bigger raft is also destroyed, but this time the giant red turtle of the title is there, and the man assumes it is her attacking him and his raft, although she leaves him alone when he is in the water.
After the third attempt, the man sees the red turtle coming up onto the beach. In a fit of rage, he smashes her over the head with a bamboo pole, turns her onto her back, jumps on her, then leaves her to die in the sun.
Later, feeling guilty, he tries to revive her by pouring seawater over her head, and also tries and fails to right her. It doesn’t work and she appears to die, her shell splitting open.
Then, she turns into a woman, unconscious, and still lying inside the split shell. The man feeds her fresh water, and builds a shelter over her. After a brief rain storm she becomes conscious, and runs into the shallow water near the beach.
The man leaves her his shirt and walks away into the bamboo forest, when he returns to the beach, he sees the woman in the water, walking away from the beach, pushing the floating turtle shell in front of her. When she reaches deeper water, she pushes the shell off out to sea and returns to the beach.
The man responds by doing the same with the forth raft he had started to build. Then they sit on a sand bank, and the woman starts breaking open mussel shells, feeding them both. The man has a flashback to smashing her over the head and shudders, the women now appears unafraid of the man.
Then they walk from the beach into a meadow on the island, and both float up into the air together – a PG metaphor for sex, as we then skip to years later, when they have a toddler son.
The rest of the story covers the boy’s growth into manhood; he swims out to sea with other giant turtles (they are all green, but he has red hair like his mother), and eventually swims off with them for good. There is also a tsunami that devastates the island before he leaves.
After the son leaves, the man and women stay on the island together until they are old and grey, then the man dies in his sleep, and the woman turns back into a turtle and heads back out to sea.
The problem I had with the film while watching it, is that it looks like the man is rewarded for his act of cruel violence by being given a compliant, silent, wife. I kept giving it the benefit of the doubt while watching, hoping there would be something later in the story to mitigate it, but I don’t think there was.
There is no talking in the film, and we never see the story from the woman’s perspective (we see the man’s dreams and hallucinations while he is alone on the island, as well as his flashback). There are lots of fairy tales where people are released from an enchantment trapping them in animal form, or stories like The Little Mermaid, where a magical/mythical creature chooses to be transformed into human form (and these transformations are often violent, or come at a cost), but it is never clear which is the case for The Red Turtle, and there is no way the man knew in advance that this is what would happen, it is obviously a complete surprise to him.
It is not clear what force is keeping the man on the island – is the red turtle supposed to represent the spirit of the island itself? But the island, when it is devastated by the tsunami, is shown to be a normal island, at the mercy of the elements. Was she in love with him from the start? But we only see them ‘meet’ right before he attacks her, they build no relationship with her as the turtle – the brief moment when they first see each other is actually quite moving, it feels like two sentient creatures making first contact, but that is then spoilt by the later violence.
I can see what the story is trying to do, it is aiming for mythic resonance, but I don’t think it achieves it. As a whole, the story itself is best at the beginning, when the man is first washed up on the island, as he explores his new environment (and as an aside, ‘mild peril’ my arse! The moment when he is trapped in a deep-sided pool and forced to swim underwater through a very narrow tunnel to escape terrified me!). The details of this first half build the character of the man, he dreams of a bamboo bridge out to sea that he flies along, and hallucinates a chamber orchestra. There is humour to his Sisyphean raft building, and there are cute crabs for comic relief.
The rest of the story, covering decades, feels sparse by comparison, and the woman never really has a character at all. We only see her swimming once as a human, she doesn’t even go into the sea when her toddler son falls into the same pool that his father fell into before. There is one moment, when the man draws pictures in the sand to show the son that there is a whole world beyond the island, and she adds a drawing of a turtle, but it is not clear if this means she misses her people, or if she is just telling her son that there is that option for him as well.
So, I was disappointed, because the need for the violence of the transformation is never explained, and there is not enough character development to see why the woman wants to stay with him anyway. I worry about the message it portrays, that (male) violence (against a woman) is an acceptable prelude to romantic love and devotion.
Dystopia used to be a fiction of resistance; it’s become a fiction of submission, the fiction of an untrusting, lonely, and sullen twenty-first century, the fiction of fake news and infowars, the fiction of helplessness and hopelessness. It cannot imagine a better future, and it doesn’t ask anyone to bother to make one. It nurses grievances and indulges resentments; it doesn’t call for courage; it finds that cowardice suffices. Its only admonition is: Despair more. It appeals to both the left and the right, because, in the end, it requires so little by way of literary, political, or moral imagination, asking only that you enjoy the company of people whose fear of the future aligns comfortably with your own. Left or right, the radical pessimism of an unremitting dystopianism has itself contributed to the unravelling of the liberal state and the weakening of a commitment to political pluralism. “This isn’t a story about war,” El Akkad writes in “American War.” “It’s about ruin.” A story about ruin can be beautiful. Wreckage is romantic. But a politics of ruin is doomed.
The only means I have to stop ignorant snobs from behaving towards genre fiction with snobbish ignorance is to not reinforce their ignorance and snobbery by lying and saying that when I write SF it isn’t SF, but to tell them more or less patiently for forty or fifty years that they are wrong to exclude SF and fantasy from literature, and proving my argument by writing well.
Ursula K. Le Guin, in the interview “A Lovely Art”, published in The Wild Girls, from PM Press.
What a year this week has been