The Freeze-Frame Revolution

36510759Peter Watts’s The Freeze-Frame Revolution is an addition to a longer series including The Island (2009) for which Watts received the Hugo Award for best novelette in 2010, Hotshot (2014), and Giants (2014). The Freeze-Frame Revolution will be published in June of 2018 by Tachyon Publications. These works are certainly part of what would be categorized as “hard sci-fi” for Watts does not spoon-feed his readers, nor spends too much time explaining. He drops his characters in some unusual circumstances, and tries to convey ideas about technology, life, the universe, and the limitations of humanity. It is simultaneously focused on macro scale settings and ideas and on micro details with few characters in a rather condensed space of 185 pages. Given these limitations I think Watts was very successful.

The novel/novella follows Sunday who is part of a large crew (in the tens of thousands) and was trained for this mission, to build a web of wormhole gates through space, making interstellar travel more accessible. Eriophora is their spaceship, and simultaneously used for creating ‘gates’ or wormholes through which they can continue to travel. Of the tens of thousands involved, only a handful of people are awake at a time while everyone else is still suspended in unconsciousness. The gate-building ship is controlled by Artificial Intelligence: the Chimp—who decides who he will wake, and what information it will provide to the awakened ones. The people are awakened only for a few days at a time when they are, which leaves very little room to accomplish anything.

As in most hard sci-fi character development isn’t a priority, and the reader will be left with a lot of questions about the characters, the ‘world,’ and sometimes even the plot. This novella will also leave you with a lot of questions but with the knowledge that there is a certain suspenseful beauty in leaving them unanswered.

The travelling through space and gates has been happening for millions of years, and people have been maybe awake a total of few full conscious years where they have scattered memories here and there from the few times they have been awakened at several time intervals (thousands of years apart). The people grow uneasy about their ‘leader’ and AI: The Chimp and plot against him, which is quite the task when they are only awake one day of every thousand. There are also problems relating to the AI’s relationship to the ship, because they are essentially one and the same. The “consciousness” of the ship is also their home (at least that’s how I read it). We are told for instance:

Eriophora’s riddled with blind spots: shadows in crawlways and corners, in the spaces behind looming machinery where no one had any reason to put a camera. There are even places—near powerlines whose massive currents swamp the milliamp signals that connect artificial brains to natural ones—where Chimp is blind to our cortical links.”

The thought that Chimp can automatically know what happens on every surveilled location on the ship makes the ship itself unreliable which gives the reader a sense of uneasiness at all times.

I really liked the ways in which Watts presents some ‘dilemmas’ or concerns for the characters which resemble our daily struggles with online personas, and simulated experiences, particularly with the ability to “plug in.” I do have a tendency to read into social criticisms as hidden between the lines of every work, but in all seriousness Watts wrote a book here that is really fun and sprinkled with philosophical questions. Here’s an example:

 “’I suppose I’m thinking that maybe there’s more to life than living like a troglodyte for a few days every couple thousand years, knowing that I’m never gonna see an honest-to-God forest again that doesn’t look like, like’– She glanced around—’nightmare someone shat out in lieu of therapy.’

‘Honestly, I don’t understand. Any time you want a—a green forest, just plug in…you can experience things nobody ever did back on Earth, any time you want.’

‘It’s not real.’

‘You can’t tell the difference.’

‘I know the difference.’”

It’s hard to omit these dark philosophical moments from the overall suspense and tension—particularly since the main mission itself: creating a wormhole gate network, has lost meaning for the people involved. I enjoyed very much the dark aspects of this novella. The ways in which Watts has this meaninglessness looming over every one little action of the characters, and the atmospheric tension he creates with the ship, and the crypt, coffin-like places the majority of crew members lie in made this work worthwhile and rewarding.

It’s a work of great talent, and I hope that soon all of his connected works, or “Sunflower Cycle” will be published in a single volume together. Peter Watts has created a sci-fi work of art where every word is refined, and has a purpose. I highly recommend this work to lovers of science fiction.

Although of Course You End Up Becoming Yourself | D. F. Wallace

6916961I read Although of Course You End Up Becoming Yourself  about three years ago for the first time, and it was my introduction to David Foster Wallace. Back then, I highlighted profusely in this book, and took many notes about what was said by both Lipsky and Wallace. Since then, I’ve watched numerous interviews with Wallace himself, read the majority of his novels, and essays, as well as D.T. Max’s biography of DFW. Re-reading this book now, there were many things that made me question its value while taking into consideration readers’ responses. I read every written review of this book on Goodreads, and they vary immensely. Some people met David Lipsky and got the book signed being really happy with it, whilst others are absolutely furious that this book exists asserting that Lipsky is an opportunist who cashed in right after a tragedy.

This book is an edited, reduced transcript of a conversation which in real time took about three days. David Lipsky arrived at David Foster Wallace’s house right near the end of the Infinite Jest book tour in 1996. Wallace was already somewhat famous at the time, and Lipsky was conducting an interview not expecting that Wallace would invite him to stay in his house. Lipsky followed Wallace around to fast food restaurants, the mall, a friend gathering, several readings, meetings with his agent, and even to his writing classes where he was teaching at the university. Sometimes he recorded on a tape recorder, other times he was required to write down as recording devices were not permitted. Throughout, Lipsky tries to capture the essence of Wallace at that time and in his own private spaces. I think he was trying to capture what on YouTube is now “a day in the life” kind of vlog, only for a very famous author, pre-YouTube. Lipsky asks Wallace about his feelings, aspirations, how he got here. I think in a way, Lipsky being such a fan-boy for Wallace led to some interesting minutiae-type questions that we all want to know of our favourite writers. How? Why? When? What poster is on their kitchen wall? How do they spend their days? What pets do they have? The problem most readers have with Lipsky is that he didn’t publish this book, nor transcribed the conversation for publication until 2010, two years after DFW killed himself, got slightly sanctified by the Howling Fantods, and remained famous. Was he afraid that Wallace himself wouldn’t like it? If Wallace wouldn’t have allowed it to be published in his lifetime then is it unethical to publish it?


Newspaper Obituary

Here, is where most readers have found the publication somewhat problematic, in addition to the fact that Lipsky is himself a fiction writer, of works that have gotten little to no recognition. Fans accuse Lipsky of using Wallace to get some recognition, seizing the opportunity immediately after Wallace killed himself. When this ‘transcript’ book was turned into a movie (which I really liked) the Wallace estate (mainly his family members) did not want to have any affiliation with this film, because they felt it would be unfair to capture Wallace at 34, for three days, and miss out on who he really was or how he had changed and matured.

With all the above in mind, I can say that as a reader I appreciate this book. I needed it, and it’s something of interest to me. For a moment there it feels like you’re hanging out with David Foster Wallace too, and you get a glimpse into his private life, in a way that is presented by an outsider which is kind of ideal. That said, I also think readers should look at this book as: this was Wallace for three days of his life near the end of his successful book tour. Stop there. Don’t dissect further, or read any more into it. Don’t look for clues on whether or not he knew he would kill himself, or anything like beyond what is on the page. There were times I think Lipsky spends too much time on his feelings and opinions, which I frankly didn’t care much about. I also didn’t like that this work is presented as a Jack Kerouak-ish On the Road kind of book, which is really not the case mainly because the two of them were complete strangers. Lastly, while Lipsky is getting some negativity from readers for when he chose to publish this and how, I would say that it’s really quite sad for a fiction writer’s most famous and most reviewed book to be a transcript of what another more famous author said. It’s the book most people ask him to sign, with six times more the reviews than any other of his works, and there’s something heartbreaking in that. I don’t think he’s just rolling in cash right now happy he made a profit off of Wallace’s death. I think his love for Wallace and deep admiration comes through in his introduction, and in the way his conversations with Wallace were carried out (if these transcripts are true). So I look at this book as a three day conversation between a fan/journalist and a writer. If you would like to read this, it’s not time wasted, but for once I don’t recommend the audiobook, as the person cast as Wallace has the opposite of a Wallace voice. I had to return it because I could not stand it.

If you are interested in what a writer-friend of Wallace’s wrote after Wallace died, I strongly recommend this essay by Jonathan Franzen titled “Farther Away.” I think I read it over ten times and listened to it on Audible. It’s so beautiful. In fact, the audiobook for Franzen’s Farther Away is extraordinary and he reads it himself. He mixes literature, personal experience, and memories of Wallace and writes one of the most beautiful contemporary essays.

Trailer for The End of the Tour feturing Jesse Eisenberg (as Lipsky) and Jason Segal as David Foster Wallace.

The Seven Beauties of Science Fiction by Istavan Csicsery-Ronay, Jr. a Summary, Discussion, and Review

“…science fiction is more than a literary genre or a social passion. It is a way of organizing the mind to include the contemporary world…SF is an art that delights in vision, intelligence, and the infinite possibilities of change.”

5925031My overall impression of this book was that it was trying so hard to be exclusive and elite that it almost became nonsensical. Yes, I understand that it contributes to a larger conversation. However, if you look at Joanna Russ’s discourse on feminist science fiction, or Sterling’s, LeGuin’s, and Atwood’s nonfiction writing as a writer-critic, or even Auerbach, Marx, and Bakhtin (all names with whom Csicsery-Ronay Jr claims to be ‘in conversation’) they are still trying to reach the public and actually have a discourse. When you purposely make yourself so inaccessible, you might as well be ranting in a dark room, in solitary confinement. It was clear to me that he wanted to fit into the ‘philosophy’ department more than the literary analysis and criticism department, or the literary studies in general. In some sections, he over-complicates topics that are so simple with his verbose and restrictive writing style. For instance, in the section on fictive neology, the entire passage sounds like an anthropology paper on humans as an overview. “Languages have an inherent potential for development through their interaction with the discourses of other cultures and their own internal elaboration.” Yeah…we know. You’d find yourself reading pages upon pages of just common sense knowledge told in a restrictive style. I also found this work to be limited by the few sci-fi works that Csicsery-Ronay has read. While he references certain things here and there from a wider range, he goes into detailed discussion on only a few works (but almost the same ones in every chapter). You can tell he’s definitely (properly) read Solaris, the Kim Stanley Robinson books, few works by Ursula K. LeGuin (if not one) and some of the 19th century classics…but there are so many other works to consider (especially when this was published in 2008). I think he barely dips into science fiction works, extracts a very superficially well-known theme and then starts ranting about it in a way only Philosophy students would understand. This becomes crystal clear the moment you encounter chapters dedicated to Kant, Adorno, and Burke.  Sometimes he just name-drops titles without even discussing them, to get them to fit into his ‘totally-unrelated-to-sf’ thesis.

Those two frustrations aside, the book gets good once you get used to his use of language about mid-end of chapter one. Once he begins to engage with science fiction works (though few) I actually really enjoyed it.

The title for this work is inspired by the medieval Persian allegorical romance The Haft Paykar—a tale of mystical love and moral enlightenment, in which a prince falls in love with seven beauties and upon visiting each of them in a week, each bride tells him a new allegorical story. Istvan Csicsery-Ronay Jr. appropriates the seven beauties to the form of “categories” found in science fiction (which he calls science-fictionality)—of which one work may contain several.

This work is not expository or historical. It is a theoretical model of criticism and responding to a rich discourse about the genre. While there are many literary critical lenses through which to examine sf works (feminist, Marxist, etc) Csicsery-Ronay Jr. approaches sf as (what he ‘simply’ describes as):

“a product of the convergence of social-historical forces that has led to the current global hegemony of technoscience, and as an institution of ideological expression on one hand, and on the other, the ludic framework in a culture of game and play in which that hegemony is entertained, absorbed, and resisted.”

The author explains that he wanted to interact with sf works and read closely while trying to not to border on the banal by using popular works, nor slip into obscurity by addressing texts that deserve a wider audience. A great difficulty arises when he wanted to be inclusive of non-Anglo sf works, while the SF genre is predominantly an Anglo-American genre. These are the seven ‘beauties’ or categories he discusses at length (I am paraphrasing some from the way Csicsery-Ronay Jr introduced them, with some examples that were memorable to me):

  1. Fictive Neology: new worlds, variations and combinations based on the actual process of lexicogenesis (ways words are coined) experienced in social life. Imply linguistic-symbolic models of technological transformation. They engage audiences to use them as clues and triggers to construct the logic of science fictional worlds. In this chapter he looks at the way language is used to construct a novelty but also how the absence of it can also achieve the same results. For instance, he uses the example of Dr. Jekyll’s chemical compound of which we never get to know the name. “By refusing to give his novum a scientific name Stevenson kept his tale from engaging with the discourse of science.” He also examines ways in which Tolkien’s well-constructed Elvish gives the fantasy epic a scientific foundations, while other ‘languages’ referenced in sci-fi with few words here and there and a name do not. Parseltongue isn’t a language, Elivish and Klingon are (in a scientific way).
  2. Fictive Novums: coined by Darko Suvin, the term refers to a historically unprecedented and unpredictable ‘new thing’ that intervenes in the routine course of social life and changes the trajectory of history. According to Csicsery-Ronay Jr., every sf text supplies fictive novums and responses to them, and thus engages the sense of real inhabitants of technorevolutionary societies. Here we learn about negative apocalypse predictions, or we find that something we knew in the past or present to be true, in the future it won’t be so. For instance Kim Stanley Robinson’s “Vinland the dream” contains the idea that the Vikings’ landing in North America is a recent hoax. This chapter has a deeper study of Lem’s Solairs.
  3. Future History: most sf is set in the future, though it does not need to be. The genre relies on the techniques of realism. Maintaining a sense of connection between the present and future, sf constructs micromyths of the historical process, establishing the audience’s present as the future-oriented ‘prehistory of the future.’
  4. Imaginary Science: introducing technoscientific ideas and events among the value-bearing stories and metaphors of social life. “We make science of our metaphors.”
  5. The Science-fictional Sublime: here Csicsery-Ronay Jr. explores several branches of the sublime like the Kantian sublime of temporal and special infinitude of the mathematical, the sense of overwhelming physical power of the dynamic sublime, David E. Nye’s coined American technological sublime where it’s the sense of access to, and control of, the powers of nature that typified the Americanpopulace’s responses to the monumental engineering projects of the nineteenth century, and last the technoscientific sublime, popularized post-WWII which entails a sense of awe and dread in response to human technological projects that exceed the power of their human creators.
  6. The Science-Fictional grotesque: the inversion of the technosublimeàcollapse of ontological categories. This is the domain of monstrous aliens. The grotesque is implosive, accompanied by fascination and horror at the prospect of intimate category-violating phenomena discovered by human science.
  7. Technologiade: transforms popular cultural materials by reorienting their concerns toward its characteristic horizon: the transformation of human societies as a result of innovations attending technoscientific projects. This chapter is similar to Jung’s models of the archetype, only he appropriates it here for the Gothic vs. Adventure. What I found interesting in this chapter was the presentation or idea of the Gothic as a mere inversion of the adventure tale.

He writes:

“Where modern adventure narrates the projection of discovery and invention further and further away from the home base, the metropole and the ‘motherland,’ into exotic venues, the Gothic imagines the subject position of the victim of these cognitive interests…the field of values is reversed…the Gothic inverts the dream world of thrilling travels among wonders into nightmares of abduction, imprisonment, and victimization by barely controllable archaic passions.”

I recommend this  book to people interested in philosophical discourse, rather than people interested in the history, analysis, or in-depth study of science fiction literature/film.

The Biophilia Effect | Book Review

“Everyone feels the need deep inside to be close to nature. We have roots, and they definitely did not grow in cement.” – Andres Danzer

“The biophilia effect stands for wilderness and the conception of nature, for natural beauty and aesthetics and breaking free and healing. That is what this book is about.”


51RnoLAew9L._SX331_BO1,204,203,200_Austrian writer Clemens G. Arvay wrote in this book every argument for why humans must co-exist with the natural realm.  The term ‘biophilia’ originates from Greek, meaning: ‘love of life or living systems’ and was coined by psychotherapist and philosopher Erich Fromm. Edward O. Wilson introduced the “biophilia hypothesis” claiming that it is “the human urge to affiliate with other forms of life” and that is our deeply rooted connection with nature in the web of life.

Arvay explores in this book the history of ‘biophilia’ in literature and philosophy starting with the Abbess Hildegard Von Bingen (1098-1179) who wrote “there is a power in eternity, and it is green.”

Arvay continues by incorporating medical and scientific studies which show that people who live close to a forest have stress reduced by as much as 30% living the same lifestyle as those in the cities. He writes:

“Plants heal without having to be processed….they heal us through biological communication that our immune system and unconscious understand”

He dives deeper by explaining how plants, like insects, communicate using chemical substances and we are just another cohabitant in the ecosystem benefiting from this communication.

What I enjoyed about this book was how Arvay describes nature and how he backs up each statement with a study. I never thought about the symbiotic relationship between a mushroom and tree roots for instance, and how the mushroom in turn provides the tree with water and nutrients from the soil. Arvay also presents readers with several relaxation and visualization exercises. He teaches readers how to be hyperaware when walking through a forest and take in all of the forest’s energy while telling yourself “I am a part of the woods.”

He urges readers to:

“take this visual language of your soul seriously.”

Arvay doesn’t try to sell products, services, or anything other than to encourage a love for the forest and for people to go outside and benefit from what nature has to offer. He makes an argument for the forest by presenting the history we as humans have with it, how deeply rooted our ‘biophilia’ truly is, and how we need it now more than ever.

Arvay is an advocate for clean eating and has written other works in the past on forgotten vegetable varieties, regional small-scale agriculture, and connecting philosophy with nature. I personally enjoyed this book, and I would recommend it to anyone who enjoys reading nature books like Thoreau’s Walden, or Muir’s Essays on Wilderness.

This book will be released in February 2018 by Sounds True Publishing.

Up Against Beyond | Poetry | Review

“Holt has little interest in plain speech that is not, simultaneously, slippery. One thinks one has the meaning, the image, of the verse, and then it is gone — as fleeting as the moment of reading.” – George Elliott Clarke

34713994Jason Holt is a Canadian poet who lives in Nova Scotia and teaches at Acadia University. He received his Ph.D. in philosophy from Western University in 1998. His books include Blindsight and the Nature of Consciousness, which was shortlisted for the 2005 CPA Book Prize and various academic works like Leonard Cohen and Philosophy, as well as Philosophy of Sport—a topic he teaches at Acadia in the Kinesiology department. His full academic bibliography can be found here. Up Against Beyond includes poetry selected from his six previous poetry book. This collection includes poems ranging from 1994 to 2017.  His use of language in his work Inversed (2014) received praise from Toronto’s poet Laureate George Elliott Clarke—one of my favourite professors at the University of Toronto—in an article titled “Linguistic Masquerades to Savour.”

Up Against Beyond, as a collection, contains a total of 121 poems and is divided in eight sections.

  1. (1994) Poems selected from Fine in Kafka’s Burrow
  2. (1999) from Memos to No One
  3. (2003) from A Hair’s Breadth of Abandon
  4. (2005) from Relics from an Open Vault
  5. (2009) from Longstern Poems
  6. (2012) from “A Brace of Sonnets”
  7. (2014) from Inversed
  8. New Poems

Holt’s poetry is hyper-self-aware and  playful with an intense sense of humour. For instance, the first new poem listed in section eight starts with:

“this is a poem/ I don’t/ title my poems/ not because/ I’m pretentious/ although/ I am pretentious…”

It’s the kind of poem that knows exactly what the reader expects to find from a Ph.D. University professor, and yet, it turns it on its head making fun of itself before the reader gets a chance to. Other poems sound like a proverb: “too many/ books/ Spoil/The prof” where the reader is left alone wondering what to make of it.

However, many of his other poems are so memorable and quotable told in a more sombre and philosophical tone, with the elegance one expects from a poet. Holt rewards readers and gives them the poetry they deserve. One of my favourite poems is this one (from which the title of the collection is derived):

“the only place to go

is up against beyond

what other challenge worthy

what other meaning

less than war

more than game

between covers of book or bed”

Most of Holt’s poetry is brief. The one proverb-like being indicative of that as it is in itself a single poem, alone on the page and each individual line is often one or two words with few exceptions. Clarke referred to Holt’s poems as “whimsical parades of terms and phrases” where one must puzzle his/her way through as a reader, akin to figuring out a Rubik’s cube, which is perhaps the best attitude to have, entering this collection.

What I particularly enjoyed about this collection is that excerpts are taken from the poet’s life spanning 23 years. We get to see a poet in various moods, and various spaces, using language as a tool for each occasion. I would recommend this work for anyone interested in reading new poetic voices and particularly those who are open to experimental poems. This collection also has a brief trailer on YouTube.

Many thanks to Anaphora Literary Press and Anna Faktorovich for sending me an ARC for early review. This poetry collection will be published on July 20, 2017 and is currently available for pre-order on Amazon.