Men in women suits

Silvia Moreno-Garcia says no to strong female characters:

I was not a fan of The Book of Life. I will not elaborate too much on this point except to mention that when I watched it I recalled a bit from an article by Sophia McDougall published in The New Statesman:

I remember watching Shrek with my mother.

“The Princess knew kung-fu! That was nice,” I said. And yet I had a vague sense of unease, a sense that I was saying it because it was what I was supposed to say.

She rolled her eyes. “All the princesses know kung-fu now.”

I thought the same thing about the heroine of The Book of Life. She knows kung-fu and she spews the kind of “feisty” attitude we must associate with heroines and she is therefore strong and everything is kosher.

In an effort to get a wider variety of women in movies and books, we have often heard the mantra that we need more strong female characters. However, as some commentators have noted “strong” has often become a code word for a very specific kind of character. The kind that must demonstrate her chops via feats of physical strength. So, for example, in Pirates of the Caribbean 2 the heroine Elizabeth Swann has now acquired fencing skills. This serves as a credential for her “strength” even though the character had demonstrated “strength” of another type already in the first movie: she was smart, even devious, managing to wriggle her way out of more than one situation.

Shana Mlawski did an interesting study of male and female characters a few years ago. The main question she wanted to answer was whether male characters are more immediately likeable than female characters. Her conclusion:

All of the above data suggest to me that we (or at least the critics at EW) like a wide variety of male character types but prefer our women to be two-dimensionally “badass” and/or evil.

That means that badasses like Sarah Connor and villains like Catherine Trammell could be palatable to audiences. Male characters, however, were allowed to come in a wider range and still deemed likeable. Men, Mlwaski, writes, could be “passive” characters. Women? They could blow stuff up or kill people….

In fact, a couple of weeks ago I watched the 1980s adaptation of Flash Gordon and
was mildly delighted to see that Dale Arden was “strong” too! Despite
the cheesiness and bubbly sexism Dale kicked ass! She was for the
duration of the film most interested in exclaiming FLASH! but at one
point she took off her heels and beat about half a dozen guards. Strong
woman, indeed.

And that, I guess, is my point. We really haven’t gotten that far from Dale and her display of 1980s strength.

Sarah Hoyt says much the same thing in passing while writing about Portugal:

In the same way the ten-thousandth Empowered Woman Defeats Evil Males saga might posibly contribute to the self-esteem of some severely battered woman who SOMEHOW managed to avoid all other identical tomes rolling off the presses for the last twenty years at least.  For me they are just a “oh, heck, yeah.  Go sisterrrr.  YAWN” as I toss the book aside. 

I have three main objections to strong female characters. First, the basic concept is a lie. Barring mystical powers or divine heritage, the strong female character is simply nonsense. They don’t exist, they aren’t convincingly imagined or portrayed, and they’re essentially nothing more than token feminist propaganda devices. Freud would, in this case correctly, put the whole phenomenon down to penis envy.

Second, it is tedious. As both women note, strong female characters are neither new nor interesting. If you’re blindly copying a trope that hasn’t been new for three decades, you’re just boring the reader. And third, it is dreadful writing. Most “strong female” characters observably are not women, they are simply male characters dressed in female suits. They don’t talk like women, they don’t act like women, and when we’re shown their interior monologues, they don’t think like women either. They’re about as convincingly female as those latent serial killers who like to wear those bizarre rubber women suits. They are, in fact, the literary equivalent of those freaks.

I’m not the only one to notice this. Carina Chocano observes: ““Strong female characters,” in other words, are often just female characters with the gendered behavior taken out.” In other words, they’re one-dimensional men in women suits.

Ironically, men tend to write more interesting “strong female characters” because
at least they know what men think like when they are writing about men
in women suits. When women do it, they’re writing what they imagine the
man the female writer is pretending is a woman would think like. It’s
convoluted, it’s insane, and it should be no surprise to anyone that most stories based on
such self-contradictory characters don’t turn out very well.

On a tangential note, McRapey was bragging about how people couldn’t tell if the protagonist of Lock In was male or female throughout the entire book. He even had two separate narrators, one of each sex, for the audio book. Now, not only is that silly stunt-writing, but think about the literary implications. It means the behavior of the character and its interior monologue is so haplessly inept and unrealistically bland that the reader cannot even ascertain something as intrinsically basic to human identity as the mere sex of the character.

Can you imagine if you couldn’t tell from their behavior if Anna Karenina was a woman or if Aragorn was a man? Would that inability improve or detract from the story? Strong female characters are bad enough, but the occluded sex of Lock In marks a new depth in bad science fiction writing.


The pride of the self-gelded

Guy Gavriel Kay is one of the better fantasy authors writing today. I posted a review of his The Lions of Al-Rassan, which is my favorite of his books, at Recommend. But it is a shame, bordering on a tragedy, that he doesn’t see how his inclination towards atheistic secularism will prevent him from ever approaching literary greatness:

The Canadian author Guy Gavriel Kay has explored the issues of faith and religious intolerance in several of his fantasy books, such as his duology “The Sarantine Mosaic,” set in a world modelled on Byzantium during the time of the Emperor Justinian. Kay’s stories echo the conflict that arose historically between such religions as paganism, Judaism, Christianity, and Islam.

. . . there has been a natural progression from Fionavar, through Tigana and [A Song for] Arbonne, to The Lions of Al-Rassan, away from the mythic and the fantastical, and towards the human and the historical. The progression from myth to religion is another way to describe it, not that the books are religious, but that we move away from what, in Fionavar, I’ve sometimes called a Homeric world; the gods intervene in the affairs of men, they have their own squabbles and feuds amongst themselves, and yet they’re physically present, men can sleep with the goddess, men can battle with words with the gods – the gods are present. In Tigana, magic is still there, but, for the most part, magic and its use was employed as a sustained metaphor for the eradication of culture. The major use of magic in the novel Tigana is the elimination of the name of the country Tigana, which for me was very much metaphorical. In A Song for Arbonne, we’re into a story about how religion, the organized religion, the clergy, manipulates the people with their beliefs about gods and goddesses. By the time we get to The Lions of Al-Rassan, it’s mainly about how organized religion takes away the freedom and the breathing space of individuals. So there is a natural progression, which is not to say that I know where the next book is going, that that progression is necessarily continuing.

It certainly seems however that the religious dimension is not going to disappear; it’s been very strong in the last two books, and certainly The Fionavar Tapestry has, in a sense, a proto-religion at the heart of it. Can you conceive of writing a book which does not have religion as a factor?

Yes, I’m sure I can; I am not a religious man, what I think I am is a person keenly interested in history. When you talk about proto-religion, you’re talking about, as I said, the Homeric idea of gods and goddesses incarnate, and the progression in history away from that. I think that, if I would characterize my interest, it’s very much in the historical and mythical roots of what we have become as cultures. When I say “we”, I mean Western men and women, because that’s the culture that I feel most at home in, it’s the culture that most of us are, to some degree, shaped by. So, in that sense, the four books (treating Fionavar as one) have been incorporating that tension, but it’s not in any huge sense central to my thinking or my own work.

Does that mean you might write a novel about the Enlightenment, about skepticism coming to the fore?

I think skepticism comes to the fore in the last two books to a great degree. I think that it’s part of the movement from myth to religion. In The Lions of Al-Rassan, one of the reasons the book is a fantasy, rather than a story about medieval Spain, even though it’s very closely modelled on real history, is that I wanted to see what would happen to people’s preconceptions and prejudices about cultures: Christian, Moslem, Jewish, if the names were changed and if the religious beliefs were rendered virtually banal: one religion worships the Sun, another worships the Moon, and another worships the stars. And out of that relatively banal conflict of ideologies, you have crushingly brutal military and psychological conflict. When you speak of skepticism, it seems to me that The Lions of Al-Rassan should be very clear for the readers: the point that underlies the detaching of these religious conflicts from their real underpinnings is that, if we step back a bit, we can start to see how much violence, how much conflict is generated by something that may be no more complex than whether you worship the Sun rising in the morning or the stars beginning to shine at night.

It’s rather remarkable that such an intelligent and talented man can be so brutally foolish as a result of his anti-religious bias. The sad thing is that he transforms what could have been a great book into one that is merely good, and is dishonest to boot. The amusing thing is that he appears to think that his obvious biases are not readily apparent to the intelligent reader; faithless ecumenicism is the romantic ideal he portrays in the novel.

The mere fact that I could write the following while knowing nothing of the author’s religious faith, or lack there of, demonstrates the intrinsic problem of the irreligious attempting to meaningfully address religious themes.


This surfeit of excellence might have been excused as a stylistic
statement on medieval panegyrics were it not for the author’s
excessively modern take on religion. Despite the plot being dependent
upon the conflict between the star-worshipping Asherites (Muslims),
sun-worshipping Jaddites (Christians) and moon-worshipping Kindath
(Jews), the author’s own apparent lack of religious sensibility prevents
the book from being as rich and moving as it easily could have been. (A
moment’s research confirms that Kay is not, by his own statement, a
religious man; it definitely shows throughout.)

Note that the interview proves that Kay’s portrayal of religion in the book is intentionally false and shallow. He does not recognize that by rendering such a false account of religion, he has undermined his own attempt to make a case against it. By detaching the “religious conflicts” from their real underpinnings, what he proves is that religion doesn’t have much, if anything, to do with violent conflicts that arise from the normal historical reasons of ambition, pride, greed, and the desire for power.

Like most secular writers, Kay fails to grasp that if he wishes to successfully attack religion, he must portray it with absolutely rigorous honesty. Because, in The Lions of Al-Rassan, all he has managed to accomplish in this regard is to reduce the literary value of his own work in order to demolish a strawman of his own construction. In this way, he is the anti-Eco, as Eco, despite his own secular inclinations, does his fictional characters the courtesy of taking their beliefs seriously and at face value, which is why he is the better and more memorable writer.

I have never forgotten the genuine anger in Umberto Eco’s voice when he corrected me concerning a question I asked him about the “villain” of The Name of the Rose: “Jorge is not the villain, he is one of the heroes … He is expressing
certain attitudes of his time, but I don’t consider him a villain. It is
a confrontation between two worldviews, and a worldview is a system of
ideas.”

That is the difference between a great writer and one who is merely a fine literary technician with a bent for storytelling. The great writer is willing to permit his characters to speak for themselves, according to their worldviews. The technician, on the other hand, insists on reducing his characters to puppets intended to express his worldview.


An interview with John C. Wright

A Castalia House blogger interviews the leading Castalia House author at Castalia House:

Q: Your conversion story from atheism to Christianity is remarkable.  Some critics have been surprised to discover which of your books were written as a Christian, and which were written as an atheist.  You have said that in each case you simply followed the internal logic of the story to its conclusion.  How much has your faith influenced your fiction, if at all?

A: This is a very difficult question, because my firm resolution when first I converted was to simply tell stories to entertain.

I am often annoyed by stories that preach, even when they preach a sermon with which I wholly agree, such as Philip Pullman’s THE GOLDEN COMPASS. I was an atheist when I read it, a full-throat anti-Christian zealous in my love of godlessness, and even I could not stand the obtrusive excrescence of the preaching in that miserable book.

Now that I am in the other camp of the endless war between light and darkness, I confess I am still nonplussed and unamused by preaching disguised as entertainment, whether it supports my side or not. The idea of ‘Christian entertainment’ is a sound one, as long as it is entertaining as well as being Christian. There is an odor of self satisfied smugness and piety which is as repellant as the musk of a skunk clinging to much Christian entries into the literary world, which one never finds in older works, such as Milton or Dante, and never in the works of masters even in so humble as genre as science fiction. I challenge anyone to find anything nakedly and blandly pious or preachy in the work of J.R.R. Tolkien, R.A. Lafferty, Gene Wolfe or Tim Powers, but there is clearly a spiritual dimension to all their works.

So I vowed a great vow never to let my personal feelings creep into my books, but merely to tell a tale for the sake of the tale, keeping faith with my readers. I am not their teacher, nor their preacher, nor their father confessor, and I have no duty to instruct them, and no qualifications to do so, no more than the jester in a King’s court has the authority to criticize the laws and policies of the King. My customers are my kings, and my job is to do pratfalls and take pies to the face to amuse them.

In the space of a single hour my great vow was overthrown when a reader, practically in tears, so deeply and thoughtfully praised the vision of spiritual reality presented in one of my short stories, the wholesomeness of the moral atmosphere portrayed there, that the reader likened it to a man trapped on some alien world of chlorine gas and sulfurous clouds being allowed to step on the fair, green fields of Earth for a single breath of wholesome, springtime air.

The reader was talking about my Christian faith, and the strength and firmness and clarity it lent to my writing. If I can wax lyrical about Ricardo’s Theory of Comparative Advantage, as I did in THE GOLDEN AGE, then surely I can wax lyrical about truth, virtue, and beauty.

The king is sad, and the jester needs to bring him comfort, for I know tales of a country where these sad things do not reign, but a king kindlier and mightier than any mortal king. As a jester, I owe it to my kings here on Earth and the King of Kings in heaven not to hide or waste my talents.

You’ll definitely want to read the whole thing. And afterwards, if you happen to find yourself still failing to be in possession of excellent books by the interviewee such as THE GOLDEN AGE, AWAKE IN THE NIGHT LAND, ONE BRIGHT STAR TO GUIDE THEM, and THE BOOK OF FEASTS & SEASONS, I find it impossible to imagine that you will not want to swiftly rectify the situation.

It’s an excellent interview with a fascinating author. Scooter did an excellent job of formulating much deeper questions than one generally sees in the SF genre, in addition to demonstrating that he was actually very familiar with the author’s material.


Traffic report 2014

The growth in site traffic was less spectacular than in 2013, and we saw a 1.5-million pageview month instead of the two-million one that I speculated might be possible, but traffic was nevertheless solid and both VP and AG continued to enjoy increased readership, with an overall 19.7 percent increase in pageviews over the course of the year. And, if anything, it’s picking up, as December 2014 was up 38 percent in comparison with December 2013.

In 2014, Vox Popoli had 11,236,085 pageviews and Alpha Game 4,457,537 for a total of 15,693,622 Google pageviews. To the left is a
chart showing the monthly traffic for both blogs over the last four
years; even without Alpha Game, VP has grown from 11,383 to 34,809 average daily pageviews. Combined, Vox Popoli and Alpha Game are now running at a average rate of 47,343 daily pageviews. Not quite 50k, I’m afraid, not even if they are converted to the slightly more generous WordPress metric. As for the running annual totals, they are as follows:

2008: 3,496,757
2009: 4,414,801
2010: 4,827,183
2011: 5,969,066
2012: 7,774,074
2013: 13,111,695
2014: 15,693,622

I doubt we’ll be able to maintain a 2-year doubling rate for a third straight year, since that would require nearly 11 million more pageviews in 2015, but one never knows. And speaking of nearly 50k daily pageviews, I would be remiss if, for no particular reason at all, I did not continue with a certain comparison
that was repeatedly brought to my attention in previous years. This is,
of course, the comparison with the hugely famous and massively popular
Whatever, formerly the biggest and best-known site in science fiction. The following chart shows the comparative
blog traffic over the last six years as measured in Google Pageviews.
 

Interesting, is it not, that Whatever’s traffic has now declined below the point that mine was when it was declared irrelevant on the basis of its paltry traffic by McRapey’s fans? So, have we seen Peak McRapey? It’s hard to say, as he’s increasingly moved to Twitter, an ideal medium for his unique combination of fabrication, snark, and self-promotion.

I found the 2014 totals to be particularly amusing in light of this clueless post by an SF Pinkshirt named Nalini Haynes who went public with her strategy to starve the Supreme Dark Lord: “My website averages well over 600 visits a day. Based on comments from
other fanzine people, I’m guessing that’s more readers than VD’s blog
would get even when he provokes a shit storm. Let’s deprive him of the
traffic.”

Apparently it didn’t work so well. Anyhow, 2015 promises to be an interesting year at VP and hopefully a much better one than 2014 was. While the Hugo debacle was entertaining and the Castalia launch went much better than anticipated, I didn’t finish Book Two, Alpenwolf didn’t finish First Sword, and there were some very difficult situations being experienced behind the scenes by friends and family. If, at any point last year, you sensed I didn’t give even the smallest damn about the various public contretemps, you were correct.

But we’ve got two new partners and an exciting new project in the works at Alpenwolf, both First Sword and Book Two will be out this year, and we’ve got a number of new writers, new bloggers, and new books to announce in the next few months at Castalia. So, thank you for your interest (even if it is no more than morbid curiosity), thank you for your support, and I hope you will come along for the ride in the new year.


Harry Potter and Game

I’ve written many times about how the Gamma males who write SF/F have absolutely no grasp of human socio-sexuality. Interestingly enough, aside from those writing in the Romance ghetto, the same is largely true of female genre writers:

In her latest Pottermore update, Rowling writes how she’s often forced
to crush the dreams of fans who nurse strange feelings for Hogwarts’s
sexiest Slytherin. 

Read the rest at Alpha Game, although beware, there is a Woman Defending All Women Against All Implied or Perceived Criticism on the premises.

In other news, Our Friend Damien is having trouble letting go. Unfortunately, writing about me appears to be the only fiction he can manage. This will certainly amuse the Evil Legion of Evil, who are probably the only ones who truly understand exactly how much winning a Hugo Award means to me.

Damien Walter ‏@damiengwalter
Theodore Beale / Vox Day being told the news he came 6th in a field of 5 at the Hugo awards.

MikeBrendan ‏@MikeBrendango
That was just beautiful…

Damien Walter ‏@damiengwalter
the definition of poetic justice.

Space Bunny ‏@Spacebunnyday
.@damiengwalter blocks @voxday, but can’t stop talking about him. So typical of sad #SJW s #lol

John Scalzi ‏@scalzi
Everything is a victory!

Space Bunny ‏@Spacebunnyday
I can only assume that @damiengwalter’s latest writing grant didn’t come through.@voxday

Tim Wood ‏@Magister_Wood
It’s how the rabbits deal with unrequited love. #SJW #lol

Mark Fox ‏@swiftfoxmark2
Wouldn’t have anything to do with not doing what he said he would, right?

I understand it intellectually, of course, but I don’t think I will ever truly grasp the inability of rabbits to understand that not-rabbits genuinely don’t think like they do. I very much doubt that they will ever understand that my finishing 6th of 5 was the best possible outcome short of actually winning, which was never going to happen.

And it’s informative to see @SFReviewsnet favoriting this tweet. It appears we’ll know where not to bother sending books for review. But at least if you’re looking for Pink SF/F, you’ll know exactly where to go.


On the periphery of Pink SF

I have been a fan of William Gibson ever since reading how Johnny was a very technical boy. Even as his novels have gotten more literary, and less coherent, I’ve always enjoyed reading them. So, I was quite pleased when The Peripheral came out recently; a new William Gibson novel is always something to be celebrated in my book.

And it’s good. The novel well-written, the plot is intricate, the sensibilities are cool (if perhaps indicative of being influenced by Hollywood’s new fascination with the rural American South), and, as always, Gibson presents a vision of the future that is somehow more plausible than the average science fiction writer’s. His skill, I think, is to present something between dystopia and the present; perhaps one might describe his perspective as dystrendic. Or in this case, dystrendic to catastrophically dystrendic, as the book spans a small spectrum of futures for reasons I would find difficult to describe even if it wasn’t a spoiler of sorts.

Gibson’s style, never florid, has become increasingly sparse as his disinclination to provide detailed description has now stripped down his dialogue. While this has the effect of making the conversations flow more realistically, the combination of the two frequently leaves the reader slightly confused as to what is going on. It’s very important to pay attention to even small details, because that’s all you’re going to get; he’s not going to go back and explain things for you. And while I rather like this approach, it’s perhaps not optimal for a book with a plot that would already be challenging to follow.

The story is about a young woman who witnesses a real murder while in a virtual environment. The story expands considerably from there, and since there is no way to reasonably do it justice in less than two or three pages, I won’t even try. As is often his wont, Gibson bring in elements of technology, art, and shadowy corporations in a sophisticated manner.

However, after a year of confronting the growing divide between Pink SF and Blue SF, it is readily apparent that Gibson is of the Pink school, and to his detriment. He is among the best of the Pink school, to be sure, but The Peripheral wind up being shortchanged by Gibson’s resort to several Pink SF conventions.

Chief among them is a mostly non-portrayal of religion that is retarded to the point of being embarrassing. We are supposed to believe that the complete collection of rural Southerners, including a number of military veterans, are as completely and utterly irreligious as wealthy elite Brits on the future arts scene. Moreover, there isn’t a single mention of football… in the American South of the 2030s. The only nominally religious individuals are the fictional version of the Westboro Baptist Church, although to Gibson’s credit, he recognizes their lawyerly activism for the financial scam it is.

However, even their nominal Christianity leads to an unfortunate demonstration of Gibson’s moral vacuity, as he literally equates silent, public, and entirely legal protest that takes a judgmental position with gassing a large group of people with lethal psychotropic drugs. Because doing the latter would make them “assholes” like the former. This was, to put it mildly, an astonishing ethical metric.

The worst aspect of the book, however, is the phoned-in characters. He gets the military aspects more or less correct, but completely fails on the Southern ones. And the female protagonist doesn’t even rise to the usual level of a man with breasts, she is little more than the book’s Macguffin, a character sans agency to whom things happen, and things more incredible than Cinderella. She is often praised for possessing attributes that she doesn’t show in any way; it’s almost Mary-Sueish at times. Throw in the fact that all the bad guys die instantly whenever shot at by the female superagent, who eventually shows up to absolutely no reader’s surprise and outperforms even the Marine veterans, and the reader occasionally finds himself dismissively rolling his eyes.

I also have to note that happy ending is so prodigiously stupid with regards to the characters that it boggles the mind. It gives absolutely nothing of interest away to note that the entire mixed-sex group, none of whom have shown ANY sexual interest in each other throughout the entire book, abruptly pair up and live happily ever after. Ye cats.

It is a pity that Gibson appears to be unable to turn his keen eye for observation towards the points where his ideological assumptions depart from reality, as it would have made for an objectively better book. if he had been able to do so The Peripheral isn’t a bad science fiction read, but it will be quickly forgotten, and William Gibson could be, and should be, better than that.


Correia on guns, etc

An interview on guns in fiction:

Ryan: What are the common pitfalls in fiction where it’s clear that the author has never held or fired a modern firearm?

Larry: It isn’t just guns, but any topic where the
reader is an expert and the author is clueless. The problem is that when
you write something that the reader knows is terribly wrong, it kicks
them right out of the story and ruins the experience for them. Guns are
especially hard because they are super common in fiction, and there are
tons of readers who know about them.

Most of these really glaring errors can be taken care of with a
little bit of cursory research. Technical things can be taken care of by
a few minutes on the manufacturer’s webpage, which will keep your
characters from dramatically flipping off the safety on a gun that
doesn’t have one.

Beyond that, however, is the actual use of the gun. The character
using it should have a realistic amount of knowledge based on their
skill, knowledge, ability, and training. If you are gong to be writing
about a character who is a professional gunslinger, then you need to do
some research to make sure that person does what a professional
gunslinger would do.

And speaking of Larry Correia, Daniel somehow manages to abuse a writer at the Atlantic even more comprehensively than Larry’s customary prison-raping of various Guardian contributors in The Wrong Corpse and the Highbrow Coroner:

Noah Berlatsky at The Atlantic declares science fiction dead of terminal nostalgia:

    Poor George Orwell wants his panopticon back.

He also quotes an important fresh voice in science fiction that:

“we will be wanting the voices of writers who can see alternatives to how we live now and can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine some real grounds for hope.”

Then he spends the rest of the article writing about Marvel comic books and their related movies.

The thesis, that science fiction has lost its way in a retrospective swamp of camp nostalgia for Star Wars, Star Trek and comic books is a bait-and-switch, however:

    Science fiction is everywhere in popular culture, and it seems like it’s managed to be everywhere in the present by largely jettisoning the future.

Berlatsky has switched terms on the reader. He isn’t talking about science fiction as a genre, he’s complaining about pop culture, as if that has anything to do with the core idea factory of science fiction, which, and always has been, books.

It does not.

If the reader needs any more confirmation, the critic’s only example of a “current” science fiction writer whose ideas run counter to the prison of pop culture is…Octavia Butler, a prog-writer who has been dead for nearly a decade, and whose most prominent work is more than thirty years past its publication date.

The ironic thing is that Berlatsky may well have a credible defense in resorting to the example chosen. The corpse of the late Octavia Butler, as it rots and feeds the worms, is arguably producing more interesting, less noxious output than are the Pink SF writers giving each other awards these days.


“The Parliament of Beasts and Birds”

The Feast of Pentecost
The animals gathered, one by one, outside the final city of Man, furtive, curious, and afraid.
All was dark. In the west was a blood-red sunset, and in the east a blood-red moonrise of a waning moon. No lamps shined in the towers and minarets, and all the widows of the palaces, mansions, and fanes were empty as the eyes of skulls. All about the walls of the city were the fields and houses that were empty and still, and all the gates and doors lay open.
Above the fortresses and barracks, black pillars upheld statues of golden eagles, beaks open, unmoving and still. Above the coliseum and circus, where athletes strove and acrobats danced and slaves fought and criminals were fed alive to wild beasts for the diversion of the crowds, and the noise of screams and cries rose up like incense toward heaven, statues of heroes and demigods stood on white pillars, glaring blindly down.
Within other walls were gardens whose trees were naked in the wind, and the silence was broken only by the rustle of the carpet of fallen leaves wallowing along the marble paths and pleasances.
Above the boulevards and paved squares where merchants once bought and sold ivory and incense and purple and gold, or costly fabrics of silks from the east, or ambergris from the seas beyond the Fortunate Isles, and auction houses adorned and painted stood where singing birds and dancing girls were sold to the highest bidder or given to the haughtiest peer. And here were gambling houses where princes and nobles once used gems as counters for cities and walled towns, and the fate of nations might depend upon the turn of a card. And there were pleasure houses where harlots plied their trade, and houses of healing where physicians explained which venereal disease had no cures and arranged for painless suicides, and houses of morticians where disease-raddled bodies were burnt in private, without any ceremony that might attract attention and be bad for business.
And higher on the high hill in the center of the city were the libraries of the learned and the palaces of the emperors adored as gods. But no history was read in the halls of learning and no laws were debated in the halls of power.
Not far outside the city was a mountain that had been cut in two, crown to root, by some great supernatural force. On the slopes of the dark mountain, in a dell overgrown and wild, two dark creatures met, peering cautiously toward the empty city. A black wolf addressed a black raven sitting in a thorn-bush. “What is the news, eater of carrion? Did you fly over the city and spy out where the corpses are?”
The black raven shrugged indifferently. “I thought it unwise to intrude. What of you, bold corsair against the sheepfolds of men? Man has always feared your kind. Did you not creep into the unwatched and unguarded gates? Surely you were not afraid!”
The wolf was embarrassed and turned away. “Surely I am not a fool,” he growled.
“Who, then, will go into the city?” asked the raven.
“Long ago, Man seduced our cousin the Hound to serve him, and to betray us. The Sons of the Hound are friends of Man, and can pass into the city to discover what has become of Adam’s sons and Enoch’s grandsons. I smell one of my cousins nearby. If Man is truly vanished from the bosom of the Earth, then the old covenant is broken and he and I may speak.”
The raven with a croak and a flutter of wings rose into the air. “Surely Hound will know.”
But it proved not so. When Raven and Wolf came to where Hound and Horse and the slow and solemn Bull were all exchanging whispered eulogies and reminiscences, and put their question to him, the Hound shrugged philosophically. “I cannot tell you what has become of Man, nor what these great lightning-flares and thunders and voices mean. All I can say is that I no longer smell his scent on the air, nor smell the smoke of his bright servant, fire. For the first time since the hour when the prince of the air, Prometheus, taught Cain how to build a sacrificial fire, and taught Tubalcain how to light a forge, there has been the smell of smoke or smokestack somewhere in the world, be it campfire or holocaust or steel mills roaring with glorious flame. Now there is no sign of fire anywhere the rumor of the eight winds carries to me.”
The wolf said, “You are friendly to Man. Go there! If he should still be alive, he will pet and fondle you, and feed you soup bones and slivers of meat.”
The hound shook his shaggy head. “It would be disobedience. I cannot go where Man forbids me go.”
Wolf snarled, “And if he is vanished forever? How long will you obey his NO DOGS ALLOWED signs?”
Hound said, “If my master has gone forever, then will I obey his word forever, and never will I enter the city. The First Hound was the first beast ever to be given a name by Adam, the First Man, and that honor we have never forgotten.”
A sharp laugh came from the bushes nearby. It was Fox, with his bright, cunning eyes and his black fur. “And for your loyalty, yours was the first tribe expelled from Eden with him, O Hound!”
“He needed the company,” said Hound simply.
Horse, who had been talking softly with Hound before Wolf walked up, now reared on his hind legs and shook his great black mane. It was a fearsome sight. “My ancestors ate nothing of the knowledge of good and evil. For what cause do my noble people wither and perish? But we were the second to depart the golden garden. The serpent promised us the glory of war, and a chance to use our strength, to run against the enemy with flying manes and foaming mouths, so that even the sons of men would be terrified by our might. We were promised that we would win names of renown, as no other beast would win, Bucephalus and Grane and Traveler. We were told that our pedigrees would be counted as if they were the lineages of kings! So it was for a season. We pulled the noble chariot, not the humble plow. Our ancient pedigrees were consumed by a man named Napoleon, and our daily work taken away by a man named Ford. The serpent told us the truth, but somehow he used that truth to tell a lie. I cannot understand it.”
Raven said, “I understand this. First or second or last, it means nothing. Only the unicorn was not expelled from Eden when all other beasts and birds were exiled. Only she will neither age nor die.”
Fox turned to Wolf, “Nor you nor I shall enter the empty city, and discover the cause of this mystery, shall we? For we are in awe of Man, and have always been his foes.”
“It was not always so,” spoke up Bull. “You rebelled against Man after the time of the Deluge. Man saved Wolf and Wolf Bitch, as well as Fox and Vixen, with all our ancestors in a wide vessel of gopherwood while the storm raged, and the fishes and dolphins sporting in the wave leaped outside the hull and laughed and mocked, glorying that their world was enlarged. And the Osprey landed in the rigging, and told us of a world above the clouds, where the sun still walked in a blue heavens, above an endless floor of billowing storm-wrack. And yet, Fox and Wolf became thief and robber, and tore sheep and pig and rabbit and chicken from the folds and pens and hutches and coops of men. Why did you turn on the power placed over us, the very power that had taken care to preserve you from the waters?”
Wolf sneered, “I am a pragmatist, not a robber. Before the Deluge, men did not keep such tasty stuffs to tempt my tribe.”
Fox grinned. “I am a philosopher, not a thief. My tribe never once took sheep and pig and rabbit and chicken. What we stole was mutton and pork and coney and poultry. One must define one’s terms, friend Bull.”
Raven said gloomily, “I am a reader of omens, and I see it is not good that men are gone. Some event unlike any ere now befalls us. It is the Twilight of Man.”
Now came a great black Lion, walking with regal, lazy steps, into the clearing, and lesser creatures, rabbits and stoats and alarmed larks, leaped and flew and scampered from his path. He shook his mane, and it was far more alarming that the gesture of Horse, and when he yawned, all saw his white fangs were as long as daggers made by Tubalcain, as sharp as the sword that hewed off the head of Goliath.
“Twilight of Man, forsooth?” said the Lion in a dangerous purr, settling himself couchant, and swatting away a fly with swish of his long tail. “Then whose dawn shall it be? My race claims the sovereignty and dominion of the world in his absence, and commands all living creatures, all that crawls on the ground, or swims in the sea, or flies in the air, to yield their fealty and obedience. Who denies my claim?”
None of the animals were willing to speak, except for Fox, “Great and powerful lord, while I myself, your most loyal servant and without question worthy of the highest reward, doubt nothing of the legitimacy of your claim, some— foolish, indeed, but when has the world ever been free of folly?—some fools will ask not who denies the claim, but rather, who makes it? On what grounds do you claim Man’s place?”
Lion said, “The serpent told me so. By virtue of my greater valor, I should rule where Man is not.”
At that moment, there was a rustling the tree above, and into view swung an ungainly creature with long and shaggy arms. It was Orangutan. “Not so! The serpent told me! Apes are made in the image and likeness of Man, we are the closest to him in looks and bearing and dignity, and therefore, as cousins germane, we should inherit.”
With a sensuous languor, Lion rose to his feet and unsheathed his claws. “Let us put it to trial by combat. War is the ultimate argument of kings. Come down and face me, Ape, if you seek to rule over me in Man’s stead!”
And his roar was like thunder rolling, and the beasts in panic withdrew. But because of the strangeness of the hour, their fear did not rule them entirely, and so they kept with earshot, peering through branches and leaves, waiting to see what would eventuate. Bull, however, did not flee at all, but faced the Lion and lowered his horns, as if preparing to receive a charge.
Neither the Orangutan flee, though he quaked, and he said in a voice bolder than he felt, “Man did not rule by his strength of arm, but by keenness of wit. Observe the cunning of my opposable thumb!” And awkwardly, but accurately, he threw a stick at the Lion, which bounced off his regal nose.
The Lion did not so much as blink. Instead, he merely put his wide paw on the stick where it came to rest in the grass and said in a low drawl, “Most impressive! Come down, Ape, and let us take the full measure of your prowess, opposable thumb and all.”
Fox (who cowered, but did not flee) said softly from a safe distance, “Liege, the poopflinger has a point. After all, you cannot press your claim—just and right as it most certainly is—merely by tearing and terrifying the other animals.”
Lion looked at him sidelong. “Why not?”
“How will you approach the eagle in his remote eerie, or the whale who wallows in the waves of the sea, or the kraken who has never once yet come to the surface of the sea, but is more massive than an isle? What of the roc who bears off mammoths in its talons, or the dragon who dwells in a lake of fire, surrounded with sulfur and burning lava? Will you journey north to face the polar bear in his fortresses of ice and snow?”
“I thought such creatures were myths,” said the Lion with an air of ennui, rolling his eyes.
“I thought the Twilight of Man was a myth,” said the Fox with a sharp smile. “But surely my Liege is not content merely to rule the beasts of the forest, and of this continent only. What kind of king is not suckled on ambition? King of the Beasts, they call you. Why not Emperor?”
“He is not great enough,” came a very small voice at their feet.
Fox came forward and put his nose to the ground, as did Lion.
Fox said in amazement. “It is the worm talking!”
Lion said, “How dare you raise your voice to me, Worm? You have neither stature, nor eyes, nor legs.”
The Worm said, “If you are Lord of Creation in the place of Man, then as your subject I have a right to bring my petitions and wrongs to you, for mercy and justice; and if you are not, then you and I are of equal rank, fellow servants of Man, and neither shall bow to the other.”
“I recognize you as equal to that Ape in the tree,” said the Lion magnanimously, seating himself on his haunches. “What is your petition, then?”
The tiny voice said, “I have a question. What is Man’s place, if he has left it? Why had he the right to rule over us? What made him abdicate that right? Until that is answered, we cannot set another up in the place of Man to rule all the living things of sea and sky and earth.”
“None knows,” said the Lion, “For none dares the gates.”
“Not even you?” said the Worm. “How can you claim the empire of the Earth if the monuments and memories of Man forbid you? Or does your kingdom extend everywhere except the city into which you dare not go?”
The Lion raised his paw to crush the Worm, but before he could strike, the Fox said slyly, “Who can read this riddle for us, O Liege? The undomesticated animals will not enter Man’s realm for awe of him, and the loyal animals will not enter out of obedient love for him. Who, then, is neither undomesticated yet not loyal? Who is not awed?”
The Lion still had his paw raised high, but instead of striking, he replied. “My little cousin, Cat. I have never yet heard rumor of a cat that either fetched or came when called, but Man kept Cat in barn and loft and parlor, and put her on a pillow, and fed her with cream. Cat can enter the dead city of Man, and tell us what fate befell.”
Fox said, “And if Cat finds Man still alive, it does not behoove you to slay the worm; and if Cat finds Man dead, let the worm eat him.”
The Lion put down his paw, but on the earth, not the Worm. “Come Ape, come Hound, come Bull. Cat is known to sun herself on a rock not far from here, where she can spy on the comings and goings of men from their gates, and watch the birds the farmers keep.”
And the Bull said, “Her ancestor was the very last to leave Eden and join Man in his exile, for Cat lingered to see what became of the immortal phoenix who never dies, and the never lonely amphisbaena, who neither eats nor excretes, and others animals more pure than Man. And it was for Eve’s sake alone that Cat came, and that slowly. So it is fitting that the last to depart from the garden Man dared not enter be the first to enter the city we dare not.”
The Cat was soon found sunning herself in the dying rays of the last of the sun, on a rock that leaned like a balcony above a sheer slope. Beneath the crowns of pines and fir trees were deeper shadows in the shadow of the gathering night, and a great highway where once ovations and triumphs marched cut straight through the wood, leaping rills in bridges of stone, and running to the wide dark gates of the city.
Cat waited until the animals, from great Lion to lowly Worm, had gathered, for she clearly adored the attention, and then she sat up, opened her mouth, and spoke. The sun was sinking behind her, and her eyes which held pupils like curving swords soon held pupils like round lanterns, even while her body became an upright shadow among shadows.
“I have been to the places of Man and am escaped again to tell you. There is within a Power beyond Man who will swallow us entire, if we allow it, and make us into what we are not now.”
“Horrible!” said Wolf, wrinkling his snout. But the Hound learned forward and perked up his ears.
“Hear me!” said the Cat with quiet dignity. “For I will not tell you twice. When first I entered by the gate, and sniffed and looked, and every lash of my whiskers quivered, there was no living thing, neither left nor right, above or below, and nothing moved before me. Yet I felt the pressure of many eyes watching, and heard the silence of a word that was not spoken, nor was it meant for ears like mine.
“Well did I know that the riches of the merchants were spilled in the empty markets, and vendors of spiced treats and landlords of taverns had a wealth and a trove of meats unclaimed lying where they dropped, with no angry broom to shoo me away. So I went my way, making no more noise than the shadow as a cloud as it passes, by gutter and eave, to the great square.
“But with each step, the dread grew on me that the eyes who watched grew wroth and more wroth. Even a woman who worships her cat as we, delightful and wondrous beasts that we are, deserve to be worshiped as is our due, will strike and upbraid us if we walk atop her white cake on her wedding day and eat the little figurines. No matter into what dark shadow I slunk, or through what narrow hole, or by what trick of doubling back in my tracks or standing still, the eyes, the eyes, the unseen eyes, never left me.
“At last the heavy weight of their gaze drove me into a fane set aside in a walled garden, one from which all the statues of the gods, less and great, had been removed. I was forced to wet myself—a humiliation my kind never loves—to cross the running stream which ran in an endless circle about the round pagoda, and by this I achieved the island.
“Here I learned to stand upright, and I raised my head and gazed in wonder at the broad dome of the sky, up into which never before had I stared. I will not tell you what I saw, or what unblinking eyes, stronger than the sun, stared back down at me. But, growing ashamed, I realized that my beautiful fur was not enough any longer.
“Ashamed, I was led by an unseen hand from that place to a street of tailors, where I was given a robe exceeding white, whiter than any fuller could white it, ablaze with a purple hem, and bound with a golden girdle. And on my feet, which had never been shod before, were sandals.”
The Horse nodded. “We of all beasts alone wear shoes, and so are much like Men, our masters.” He said this softly to the Hart.
Cat continued. “Now, fitted for the first time to walk the streets of Man, up to the very palace was I led, awed and quaking with dread, as if being led to an abattoir.
“In the center of the citadel rose a tower tall and topless, its dome open to the sky like an ever upward-peering eye, and whose walls were so overgrown with rose vines, that the leaves make all the tower seem green as emerald. Into the green gloom I paced, brooding as a man broods, more aware of my own fears and fancies than of the smells and sights and sounds of what lay about me. Thus, like a man would be, I was taken by surprise to find the interior of the tower, and its one high round window overhead, and a beam of slanting sunlight, sparkling with dust motes, making an oval gleaming on the stone walls.
“In a short time, I became aware that there was a great voice dwelling in that chamber, a voice which spoke only truth, which it destroys men if they hear it, and the voice was keeping silent. And yet, by the texture of the silence, I knew it was waiting for me to speak.
“To speak? No, to plead.
“The words rushed out of my mouth before I could stop them. ‘By what right were the beasts created of the Sixth Day condemned to suffer mortality and pain when Eve ate of the first fruits of the Tree of Knowledge of good and evil? By what right were condemned the fowls of the air and the fish of the sea, created of the Fifth Day, and why do the innocent trees and grasses born of the Fourth Day perish in winter?’
“And when the silence grew even deeper, and the air grew heavy as the air before a storm, I knew I spoke words without wisdom.
“But of all earthly creatures, who is less awed by kings, infernal or terrestrial, than me? Therefore I demanded of the Voice. ‘Speak!’ I said. ‘Have you no answer? Or have I got your tongue?’”
At this point in the narration, the Cat paused to wash herself. With growing impatience, all the living things from Lion to Worm watched the Cat licking her fur into place, and smiling to herself in the way of cats, as if admiring her own sangfroid.
It was Hound, whose tribe has always been at enmity with felines, who snarled and barked and demanded Cat finish her story.
Cat yawned and stretched. “What more is there to say? Don’t you understand what is happening?”
“Oh, I understand, of course,” smiled Fox with his clever grin. “But out of pity for our slower brethren, do explain it in the illimitable way only you command, sleek puss, for surely I would mar the tale were I to tell it for you.”
Cat looked at them all with luminous eyes like two yellow moons. “Why are we here?”
Horse slapped Fox on the back of the head with his tail. “A philosophical question! This is your field.”
Fox looked nonchalant, but not as nonchalant as Cat, who had more practice. “Not so. It is a legal question, is it not? For what cause were we exiled from Eden with First and Fallen Man? On legal matters, we should defer to the kingliest of beasts, great Lion, who understands these political and juridical questions.”
But Hound answered, “We are the servants and serfs of Man, made for his pleasure, that he might learn the joys and duties of caring for lesser creatures, even as angels care for him. How could we not fall when Man fell? Who would be so disloyal as to remain in paradise when his master was condemned to the mortal world?”
Lion said, “Some of us have not the souls of slaves, cur.”
Hound, although outweighed and overmatched by Lion in every way, stood and snarled, and the ridge of his back stood on end. “Rebels! How can a beast disloyal, treasonous, think to remain in bliss?”
“I will find satisfaction for those words at a time and place more pleasing to me,” said the Lion in a soft and melodious voice. “For now, I am curious. A flaw all cats possess, I trow.” He turned to Cat. “Cousin! You ask why we are here? We are here to acclaim one of us to the kingship over the rest, now that Man is gone.”
“By debate?” asked the Cat perking up her ears. “By discussion, deliberation, the use of reason and ratiocination? Or perhaps by diplomacy, a series of duels and melees and bargains and threats, that all cautious souls must ponder in our brains? Indeed? Indeed? What is wrong with this, friends?”
Cat looked back and forth. Puzzled stares answered him.
“Do none of you see it? Eh, not one?” The Cat turned around and around again, as if preparing to lay herself down for a nap. “Ah, against stupidity, the gods themselves contend in vain!”
Now even Fox was growing angry. “What riddle is this, Cat?”
Cat waved her tail airily. “Talk it out amongst yourself. Surely it is obvious.”
Fox barked, “Tell us!”
Cat stared at him levelly. “How? With words? Has it occurred to none of this august company gathered here that we have all been speaking words in Adam’s speech? This is not a gift we have ever known before. When did it start? What happened?”
The animals were dumbstruck for a long breath of time, almost as if upon realizing the gift of speech was theirs, they lost it.
Cat stood up on her hind legs, which now seemed to be more and more like feet and less and less like paws. “Have you understood none of my story? Man is gone. There is singing and rejoicing in the realm above the stars, albeit we are deaf to it, and screams and sad excuses rising up from the lake of fire which can be glimpsed between the smokes and smolder where the earth was broken open by nine volcanoes.”
Now Hound, laughing, rose to his hind legs, and found them to be feet, and, hearing his own laughter, put his hands to his mouth in wonder. “I know what is happening,” he said in a voice gone hoarse with joy. “We are becoming like him. We are now the image and likeness of Man!”
Bull, clutching his lower back and groaning, heaved himself to his feet. “Stupid way to travel. Wait–am I naked? When did that happen? Before I was merely without clothing. This is different. This is worse!”
Worm said softly, “If I stand up, will it disconcert you all? It might look odd.”
Fox started to stand, but Lion put a paw on his shoulder and forced him back to all fours. Fox stayed on the ground, but his posture seemed odd and wrong, as if the grace and speed due his race was gone from him.
Lion said, “Shall we become creatures that prey upon each other, that are dazed with dreams and fevers, haunted by guilt of time past and fear of death to come? You who stand, and have the gifts of laughing and crying and the other things men do and beasts do not–you are naked! How can you tolerate the shame? Get down on your bellies! Let us live as rightly suits us!”
But Hound said, “Look into my eyes, Lion. Whoever first flinches and looks away will be the slave of the other.”
Lion roared but dropped his eyes, and from that moment onward he was mute, nothing more than a dumb beast again.
Fox stood up, but had to lean on a dry branch picked up from the ground. “To your feet! To your feet, all of you, in haste! Even to hesitate a second will lame you as I am lamed, forever! Unspeakable powers are at play this night, unguessed forces, divine things not to be trifled with!”
Owl said, “It is the first Sunday after the full moon following the equinox of March. Alas! The skies will never be open to me again!” And by the time he had come down from the high branch where he stood, his wings were no more than a cloak of feathers.
Raven said, “I curse the gift of speech, which is used for lying and worthless bearing of tales! Let me croak, and by that ungainly noise you shall hereafter know that I am prophesying your death. ‘Tis the one prophecy that always comes true, soon or late. What need have I for words? Give me the skies, I say, give me the wide freedom of the skies, and your sweet corpse meat on which to feast, and I am content!”
Owl said, “Beware! On this night if you turn away from the image and likeness of Man, the gift will be shattered like glass, and cut you with a thousand cuts!”
But Raven only croaked in reply, and the light of wisdom was gone from his dark eye.
The blood red moon walked out from behind a cloud, and there was among them then two figures like the Sons of Adam, dressed in robes of a color that has no name, but is purer than the hue of a white lighting flash. And no one saw how they had come to be among them.
At this, the gathered beasts panicked. As if running from a forest fire, predator and prey ran cheek by jowl away from the two men, scattering each direction, and the birds, fleeing, formed a cloud that grew wider and grew more rare.
Wolf hesitated, and howled, “Hate and war I vow against Man and against those tame beasts who seek to become his image! The beasts who walk on hind legs shall beware of me hereafter! I will drink the blood of your children and your children’s children!” And then he turned and loped away.
Soon, only a few were left standing: Hound and Horse were there, and Ass and Bull and Cat, but there was also Goat and Sheep, humble Worm with his silks, and the industrious Bee with his honey. But also present was Fox with his sly smile and twisted foot, leaning heavily on his staff.
And Fox was the first to bow to the newcomers, “Sires, I am tired of being undomesticated. I am told that the meals are regular and bountiful among the slaves of the Sons of Man.”
The first messenger said, “Out of pity for your nakedness, we have brought garments woven on the looms of heaven. All the secrets of the stars are in the weave, even if you shall never know them. The wedding feast of the bridegroom is prepared, and you are summoned.”
The second messenger said, “We are come to tell you to enter the city and take possession of it. Cut down the groves and high places where men sacrificed their children to our cousins, and pull down the false images they worshiped. Dominion over the beasts who fled is given to you. Prosper and multiply; take possession of the Earth.”
But as the garments were passed out, suddenly they seemed to lose their luster, and were stained with atrocious stains. Each place their fingers touched, or skin, grew dark and unseemly to the eye.
“How shall these be made clean again?” asked the Hound in grief and surprise.
“Only in the blood of Man,” said the first Messenger. “The first prayer of Saint Roch upon entry into the celestial court was to have his dog with him, and Saint Eligius asked after his horse.”
The second messenger said, “Surely you did not think divine love would leave the brute beasts to dissolve into the elements, unsaved and unredeemed? If your loyalty to Man drew you downward into his fall, your love will draw you upward into his joy.”
Fox said, “We must wait for Man to redeem us? Why does the Omnipotent not act directly? Why does He wait for Man to volunteer to aid Him, He who needs no aid?”
The first messenger said, “Why did He wait for archangels to make the stars, and angels the planets and comets, wandering stars and bearded stars? Why were the Watchers instructed to instruct me, when the Almighty might have performed their acts of love, and ours, and yours as well?”
The second messenger said, “To ask why you must wait for Man is to ask why Man had to wait upon his anointed prince to die and to be raised again from death. It is to ask why love loves.”
“Wait,” said Cat. “No way is prepared for the created creatures to save ourselves? We are not the heroes of our own story? You tell a worse tale than I do! For you have left the ending unspoken!”
But the messengers were gone, as quickly and silently as they had come, and they did not answer.
Hound said, “Come, brothers. The city is waiting. Man was saved by the sacrifice of a higher being who became one with him, and I think the tale will be told again in the same way for us.”
Owl said, “Look, the Worm is Worm no more, for he has regained his feet and his stature, and his garments are less stained than any of ours. Let us make him our king, for in times past he was the least of us.”
Worm said, “I an unfit to rule, being blind and lacking tooth and claw alike!”
Cat said, “Open your eyes and look at yourself. We are changed, friend Worm. You are changed. You are a worm no longer, you are a dragon again, but the red stains of war and greed are gone, and so I say the old, old curse is broken. There is no more Woman to step upon your head, for Woman and her Daughters have gone to a newer and better world.”
Worm, who was now Dragon, looked down at himself, and saw himself splendidly garbed in scales of red and gold. He took up a bundle of reeds in a powerful claw and breathed on it, and it lit afire. “We are men!” he declared in a voice full of awe. “The gift of fire is ours!”
And because it was a gift, none of them were afraid of it any longer.
Fox said, “I hate to admit it, but I do not understand what all these things mean.”
Owl said, “It is the first Sabbath after the Paschal moon following the Equinox of Spring! Not only Man, but all nature is redeemed! Rejoice!”
Fox said, “And what of our fellow beasts who ran and refused to be men? Will all these things happen again, to save them? What happened to men who refused to become sons of God? How can they be exiled from the seat of the Omnipresent?
“Will one of us be called upon to sacrifice himself, and become a lower beast again, and perish to save those lower creatures who are now our pets and servants and playfellows and predators?
“Why are we given a walled city filled with the memories of evil, idol and slave pits and instruments of war, to unmake and remake? What shall we do if the beasts retain some part of the power of speech and come against us? Must the war between celestial and infernal powers continue until the end of the world, until death itself is dead?”
But the others were already walking down the sundered mountain toward the great city, walking as men walk, and there was none to answer him.

“The Parliament of Beasts and Birds” by John C. Wright was published in The Book of Feasts & Seasons, Castalia House. Copyright (c) 2014. All rights reserved.


The importance of names

Daniel writes an extended review of A THRONE OF BONES on Recommend:

Names are important in A Throne of Bones, and I’ll highlight two: Selenoth, the continent upon which the action takes is, a nod, I believe, to the element selenium, which occurs naturally in volcanic areas. Considering the photosensitivity of the material, it seems natural that the land provides an elemental basis to the development of Selenoth’s primeval magic. Even more interesting, however is the name of the main country: Amorr. Yes, it is a play on the legendary “secret name” of Rome, which provides a clever signal that this strange society will in some way mirror the Roman republic.

However, more deeply, it is also a direct tip to the Latin word for “love” and this is where, if the magic of Selenoth draws the bow, the arrow of Amorr strikes the heart. Day is, after all, an incorrigible romantic, and not of the hopeless variety. The nostalgia, realism and richness of Selenoth is crystalized through the lens of Amorr, and, to put a fine point on it, love is all around.

Love in degraded, if happy, form in the camp followers and brothels among the soldiery. Love between sibling reavers on a mission to draw former victim states into an alliance against certain doom. In a scene stunning, dreadful, long-coming but still shocking scene, love grips in stoic, complex anguish.* The raw and needful love between man and wife. Long-distance love between the clever (yet earnest) and the cruel (yet sympathetic). Love of complex relational intrigues. Love of language. Love of order. Love of family, of honor, of duty. Love of dragons. Love of gold. Love of knowledge. Love of good men, of good life, of good death. A love of the hope that all things, not some or most, will pass away, and yet that all things, not some or most, will be restored by the hand of the Almighty.

Every page, for its grit and realism, its tragedy, folly and danger, the thwarted plans, curses, whoredom, brutality, the death of youth, the loss of ideals, the temporary victory of murder and evil, is an out and out love letter to the Immaculate. Death, in all its towering, all-consuming bleakness, is small, and soon to be swallowed by a love so great it lays its life down, and in defeat, quite literally overcomes all.

A Throne of Bones is doorstopping fantasy for far more than its physical dimensions. Metaphysically, it shuts the door to the world we know and provides an escape to a better reality, and one far more dangerous than the one in which we now dwell. It expresses longings (to master dragons, to find treasure, to save the world on a mission from God, to restore and enjoy the family, to live abundantly and in reality, enjoy and defend the relationships that matter, and many, many more) in such richness of detail.

One of the things I enjoy most about writing books is discovering, after the fact, what others perceive I put into it. Sometimes, absolutely no one recognizes it. Sometimes, I simply fail what I set out to do. And sometimes, people perceive more than I had originally thought. But that doesn’t mean they are necessarily wrong, because the truth is that the writer isn’t always aware of everything he is doing or what all of his intentions are.

Well, perhaps some writers are, but I’m not. I just sit down and do it, one chunk at a time, until the whole edifice is finally constructed and I’m hoping that the whole thing more or less holds together. And since I seldom go back and re-read anything, sometimes I don’t even know what it was that I wrote, especially in a book this size. Perhaps that is what John C. Wright is talking about when he discusses his Muse, I don’t know. We lesser writers are not touched by the Divine Fire; where they soar on the wings of their mighty inspirations, we trudge along, one step after another, until we suddenly realize that we have arrived at our destination.

Book II is coming along slowly, but surely, and I think it is a better book in some ways than its predecessor. But then, that isn’t for me to say.


The vanishing black hole

Laura Mersini-Houghton is taking the “women ruin everything” mantra a little too far in literally destroying huge swaths of science fiction, albeit not in the usual manner:

Black holes have long captured the public imagination and been the subject of popular culture, from Star Trek to Hollywood. They are the ultimate unknown – the blackest and most dense objects in the universe that do not even let light escape. And as if they weren’t bizarre enough to begin with, now add this to the mix: they don’t exist.

By merging two seemingly conflicting theories, Laura Mersini-Houghton, a physics professor at UNC-Chapel Hill in the College of Arts and Sciences, has proven, mathematically, that black holes can never come into being in the first place. The work not only forces scientists to reimagine the fabric of space-time, but also rethink the origins of the universe.

“I’m still not over the shock,” said Mersini-Houghton. “We’ve been studying this problem for a more than 50 years and this solution gives us a lot to think about.”

For decades, black holes were thought to form when a massive star collapses under its own gravity to a single point in space – imagine the Earth being squished into a ball the size of a peanut – called a singularity. So the story went, an invisible membrane known as the event horizon surrounds the singularity and crossing this horizon means that you could never cross back. It’s the point where a black hole’s gravitational pull is so strong that nothing can escape it.

The reason black holes are so bizarre is that it pits two fundamental theories of the universe against each other. Einstein’s theory of gravity predicts the formation of black holes but a fundamental law of quantum theory states that no information from the universe can ever disappear. Efforts to combine these two theories lead to mathematical nonsense, and became known as the information loss paradox.

In 1974, Stephen Hawking used quantum mechanics to show that black holes emit radiation. Since then, scientists have detected fingerprints in the cosmos that are consistent with this radiation, identifying an ever-increasing list of the universe’s black holes.

But now Mersini-Houghton describes an entirely new scenario. She and Hawking both agree that as a star collapses under its own gravity, it produces Hawking radiation. However, in her new work, Mersini-Houghton shows that by giving off this radiation, the star also sheds mass. So much so that as it shrinks it no longer has the density to become a black hole.

Before a black hole can form, the dying star swells one last time and then explodes. A singularity never forms and neither does an event horizon. The take home message of her work is clear: there is no such thing as a black hole.

Well, this is a little embarrassing now, isn’t it? How reliable can we consider the science that was used to show that nonexistent entitities emit radiation? I shall be very interested to see what Stickwick makes of this. And if singularities never form, what are the philosophical implications of this for the technocult of the Singularity and the rise of posthumanity?

Then again, as disappointing as it may be to be informed that black holes are bound to disappear from the science fiction of the future and go the way of Martians, steamy Venusian colonies inhabited by green-skinned babes, and other now-abandoned SF tropes, perhaps a fundamental reimagination of the fabric of space time will lead to some interesting new concepts with which we can play.

UPDATE: Astrophysicist Brian Koberlein says Ms Mersini-Houghton is wrong, black holes do exist, and women should stay out of science and remain in the kitchen, barefoot and pregnant, where they belong. Or something more or less to that effect in Yes, Virginia, There Are Black Holes.