In 1539 the Knight Templars of Malta, paid tribute to Charles V of Spain, by sending him a Golden Falcon encrusted from beak to claw with rarest jewels – but pirates seized the galley carrying this priceless token and the fate of the Maltese Falcon remains a mystery to this day –
Humphrey BOGART as Dashiell HAMMETT
Sir Lanzilot on the Bridge of Swords
“He did what he thought was right.”
Elisha COOK, Jr.
Space MONKEY as The Demiurge
Wolfram von ESCHENBACH
From a Story by
Chrétien de TROYES
“World of Shit” is from the album Souljacker by Eels (2001).
“I’m blind to all but a tenth of the universe.”
“What do you see?”
“The city… as if it were unborn. Rising into the sky with fingers of metal, limbs without flesh, girders without stone. Signs hanging without support. Wires dipping and swaying without poles. A city unborn. Flesh dissolved in an acid of light. A city of the dead.”
Stage One: An image is clearly a substitute or representation of something real. Stage Two: Distinguishing between image and reality is difficult but possible. Stage Three: There is no difference reality and representation.
Add your own code at your own pace.
The song “What is the Light?” comes from the album The Soft Bulletin by The Flaming Lips (1999).
We’d laugh at him when we were growing up: ape his funny yokel accents, shake our heads at his racism, sneer at his propensity to stack adjectives; it was a way of excusing ourselves our own racism and snobbery, I guess.
That’s the thing: we who are closeted behind the barricades of the western world are not as distant from the attitudes expressed in the stories of H P Lovecraft as we might like. You can say, “I didn’t choose this,” or, “I won’t do this,” but some of those ideas are embedded into the structure of our language, disguised as ‘common sense’ or patriotism. H P Lovecraft reveals what lies beneath the deep-seated and intractable issue of racism: revulsion and a refusal to face the truth.
He’s also one of very few writers to find an original approach to describing the Real; what’s written isn’t always willed by its writer in the absolute sense, and connotation can be as important as denotation to artistic longevity.
Michel Houellebecq – writing before his own talent and notoriety made him famous – makes a good case for H P Lovecraft’s creative importance in H P Lovecraft: Against the World, Against Life (translated into English by Dorna Khazeni in 2005 and republished by Gollancz in 2008): it is fundamentally an existentialist argument – one about how Lovecraft combined lyricism and delirium to reveal a deeper truth about human estrangement:-
“I perceived with horror that I was growing too old for pleasure. Ruthless Time had set its fell claw upon me, and I was 17. Big boys do not play in toy houses and mock gardens, so I was obliged to turn over my world in sorrow to another and younger boy who dwelt across the lot from me. And since that time I have not delved in the earth or laid out paths and roads. There is too much wistful memory in such procedure, for the fleeting joy of childhood may never be recaptured. Adulthood is hell.”
Colonial powers refuse to face the truth about their impact on the world not because they are old but because they are infantile: that’s my position, at least. Umberto Eco does a great job of summarising the issue in his article on Ur-Fascism: what is presented as rational is in fact deeply irrational. Here’s a quotation from one of Lovecraft’s letters I found in Howard Ingham’s review of the film Jug Face (2013):-
“As for the Nazis – of their crudeness there be no dispute, yet in many ways the impartial analyst cannot help feeling a certain sympathy for some phases of their position. They are fighting, in their naive & narrow way, a certain widespread & insidious mood of recent years which certainly spells potential decadence for the western world – & one can’t help respecting that however ugly & even dangerous some of them may appear to be. Hitler is no Mussolini – but I’m damned if the poor chap isn’t profoundly sincere & patriotic, it is to his credit rather than otherwise that he doesn’t subscribe to the windy flatulence of the idealistic ‘liberals’ whose policies lead only to chaos & collapse.”
The basis of racism is fear; I think we need to get deeper into this fundamental truth rather than turn away from it. Unconscious impulses require creative understanding.
The VVitch is a curious artefact. The stylization of its title comes from a Jacobean pamphlet on witchcraft, its costumes (designed by Linda Muir) are thoroughly researched from Stuart Peachey’s Clothes of the Common People in Elizabethan and Early Stuart England (2014) and its cinematography (by Jarin Blaschke) is intended to replicate the formal composition of paintings of the period. That much of the dialogue is lifted from writings and witchcraft trials of the late seventeenth century lends a curiously dislocated tone to the whole affair: one which might connote the unsuitability of the European paradigm to the North American locale if not for the fact that the religious fervour turns out to be correct in every particular. Thus The VVitch‘s connection to the traditions of Fantastika – a body of literature that communicates its themes most resonantly when read literally and which seeks to interrogate the Politics of the Western world by comparison with exotic locales or buried truths – is both disrupted and enlivened by its almost-documentary devotion to historical accuracy: it may well have been at the point that the Western world stopped treating the idea of God as incontrovertible that Western discourse began to distinguish fact from the fantastic. “Hell is empty and all the devils are here,” as a William Shakespeare character says in Act 1, Scene 2 of The Tempest (performed circa 1611; 1623).
As has been mentioned elsewhere [see We Don’t Go Back: A Personal Taxonomy of Folk Horror and Pagan Film #52: The Witch (2015) by Howard Ingham], the Psychology of the way the family reacts to the strain they are under is entirely credible; it is the attachment of a supernatural explanation to realist verisimilitude that makes The VVitch seem conflicted. Three Algonquin tribespeople are glimpsed at the beginning of The VVitch: America’s native population is neither seen nor heard from again. The VVitch, like Joseph Conrad‘s Heart of Darkness (1899; rev 1925) is a text about the unconscious vastation of a belief system that reduced entire continents to Slavery and one half of its own population to the status of chattels:
I’m not saying an impromptu summoning at a nearby stone circle is a bad idea but… one dead witch, a player-character shot in the head and anathema pronounced upon the party by the surviving witches.
I’m generally disposed toward a Purist style of play but the group ain’t having it: it’s Pulp all the way.
We’ve a few other things prepped and ready-to-play but the group wants to continue with Fearful Symmetries. We’ll spend a bit more time working up spells and styles of Magic, as these turn out to be integral to the flavour and progress of the game.
The themes of the campaign run pretty deep – this was a playtest, so we tried to go into it without too many preconceptions – and we felt a little under-researched in one or two respects. I’ll take some time to hang out with the “folklore engine” from the draft of the book:
Now I may say to you, what perhaps I should not dare to say to anyone else: That I can alone carry on my visionary studies in London unannoy’d, & that I may converse with my friends in Eternity, See Visions, Dream Dreams & prophecy & speak Parables unobserv’d & at liberty from the Doubts of other Mortals; perhaps Doubts proceeding from Kindness, but Doubts are always pernicious, Especially when we Doubt our Friends…
We finally – ugh, the slings and arrows of everyday life – managed to kick off our mini-campaign of Fearful Symmetries last night. I’d better not say too much for fear of spoilers.
The heavens shall quake, the earth shall move & shudder & the mountains With all their woods, the streams & valleys: wail in dismal fear In the second “night”, the theme of women ruling is discussed but there is an emphasis on how the ability to create constricts them. Humanity is imprisoned by creation, and experience causes great pain…
Vala, or The Four Zoas
William Blake (1797-1807)
Alienist Hauke Greiner (57) and parapsychologist Emily Cheek (34) met Prophet of Albion James William Barnes (?-?) during last night’s session; a survivor, or one might say casualty, of our Bookhounds of London mini-campaign: they were moderately discommoded by finding him addressing the heavens from a box on Speaker’s Corner.
The PCs witnessed the maw of the sky run red, cozened a book scout and dowsed north-north-west from Oxford; Emily found herself upon a throne not of her choosing. Our ignorance of the work of William Blake runs fairly deep but it’s a chance to extemporize, and Innocence brings its own rewards.
Next week: witches. Yes, witches. Loves me some witches.
We know what will happen the moment we hear about the “next generation” human embryos aboard the colony ship: a xenomorph will impregnate them. Here though, the marriage of the fine-honed excitement of the Monster-slaying story arcs of ancient Mythology to the richness of existential inferences from the initial run of films – that Evolution occurs along a little-understood plane of immanence, that Life on Other Worlds is likely to be at least as terrifying as life on this, that Aliens allegorize aspects of organic behaviour not yet fully-explained by Scientists, that the xenomorph represents something about species’ will to survive, much, indeed, as did the alien Shapeshifter from John Carpenter‘s remake of TheThing (1982), that there is, in short, something real and meaningful going on – is exchanged for a blood-spattered retelling of the European occupation of North America as the Colonization of Other Worlds:
Some say it started with space, others with the congruence of science and discourse, others still with the allegories of Rosicrucianism, but I consider this the best essay on the genesis of science fiction ever written: