On not writing positive reviews

What is this blog? A scrap-book, a dialectic (even if only with myself) on the process and purpose of writing? Some way to show that I exist (the name was chosen a decade ago, I wouldn’t be that smart-arsed now)?

Most of the reviews on this blog are negative; if I think something is good, and my opinion fits with the mainstream consensus, I have nothing to add, but if something is getting high levels of praise in the mainstream, and I don’t agree, then I do have something different to say.

Since reading H(A)PPY, I have re-read John Gray’s Soul of the Marionette (non-fiction, but of interest to any serious sf fan), Siri Hustvedt’s The Blazing World, and Samuel Delany’s Dark Reflections.

I am currently reading Ursula Le Guin’s The Complete Orsinia (a lovely Library of America edition, borrowed from my local library; from its pristine condition I suspect I am the first person to borrow it). Malafrena, the main novel within the collection, is, to me, the most impressive of Le Guin’s works in terms of worldbuilding: to invent a central European country, and for it to be convincing, takes not just imagination and intelligence, but also knowledge, of hundreds of years of European history, culture, politics, religion, and language (she invents a new language too). Le Guin is also refreshingly modest about what she is doing, in the introduction she says: “Most of what I read drew me to write about Europe; but I knew it was foolhardy to write fiction set in Europe if I’d never been there. At last it occurred to me that I might get away with it by writing about a part of Europe where nobody had been but me.”

I do not deny the existence of ‘good writing’, ‘good’ as in aesthetically pleasing, and ‘good’ as in tells some truth about the human experience. Perhaps it is reviews themselves I should be wary of, the whole cynical commercial infrastructure of reviews and interviews and click-bait headlines competing for attention? (It is not a coincidence that the above are all re-reads, or from a known and trusted author.)

I also read Colson Whitehead’s The Underground Railroad, and it was wonderful to finally read something that stood up to all the hype. It is a very good book, that doesn’t flinch from the ugly psychological truths of oppression and how it can warp a personality. I have read Beloved, I watched the remake of Roots, I can kid myself that I ‘know’ what this period of human history was like. I also trust, from interviews and the book’s afterword, that Whitehead did his research, that even the most gruesome acts of violence have historical precedence.

But, it isn’t science fiction! From reading (or maybe misremembering) reviews, I imagined something like the modern-day London Underground joining up all the towns and cities across the US, and was curious to see how the author made it all fit together, but the technology is contemporaneous – even if nobody was building underground trains in the rural US back then, they theoretically could have (The London Underground was started in the Victorian era, and the earliest trains were steam trains). Despite what I said before, about science fiction’s ability to make the metaphorical literal, I still don’t think this counts as science fiction. As well, I don’t think the underground trains really added anything to the story, the characters could have been moved around conventionally (or stepping through magical portals in the backs of wardrobes) and the story wouldn’t have changed in any meaningful way.

I signed up to Netflix for a month (leave your account idle long enough and they give you another free month!) to watch Annihilation, which is a very effective sci-fi/horror film (the end scenes are absolutely terrifying), but not as profound as some reviewers seem to think. Although it was interesting, briefly, to speculate whether the alien phenomenon is a force of nature that only appears to have a conscious drive because of its encounter with humans, or an alien consciousness attempting first contact or an invasion, I can’t say that any of it stuck with me in any meaningful way.

I watched season 4 of Black Mirror, which I think was stronger overall than season 3, even though there were more episodes relying on tosh-science (you can’t recreate someone’s personality from their DNA, and the claim that we only use a certain percentage of our brain is an old myth), rather than speculative technology, but didn’t have a stand-out episode like ‘San Junipero’; ‘Hang the DJ’ was good, but not as good as ‘San Junipero’.

(I also watched The Cloverfield Paradox, which really is that bad.)

I watched most of Channel 4’s Electric Dreams, which was mostly meh, some episodes were 40 minutes of obvious and dull set up, then 20 minutes of obvious denouement, while others were basically nonsensical. Only ‘The Commuter’ and ‘Safe and Sound’ stood out, the former for the strength of its emotional narrative, the latter because it was most like a Black Mirror episode.

On Saturday, I went to the cinema to see Zama, a fever-dream of colonial hubris that I am not sure I entirely understand yet. It had a genuine dream-like quality, there are only a few explicatory concessions to the audience, which gives it that feeling of having to go somewhere and do something, with no idea where or what or why. There are jumps between places and times, with no sense of where locations are in relation to each other; characters that appear without explanation; in one scene the protagonist walks through a rich lady’s salon, into a stable, into a brothel, which seems to be all one building (I know people lived close to their domestic animals in ‘the past’ but everything seems too close and crowded in that scene); there are objects that take on significance without understanding, a letter, a handwritten book, a pair of desiccated human ears.


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