mdlbear: blue fractal bear with text "since 2002" (Default)

For some reason I'm feeling absolutely exhausted. It's also possible -- likely, even -- that I've had a little too much coffee. The fact that my current cup of it has a little Frangelico in it may help, but probably not enough.

Meanwhile the song I've been working on is threatening to become a rhymed sestina, and to turn from a song into poetry of the most intimate sort. I shall probably be forced to fork it. The form intrigues me greatly, though; the Wikipedia article points to a wonderful example[pdf] that expounds on its underlying group theory. (Aside: go check out today's xkcd. Not as far off-topic as one might think.)

My mind seems to make a fairly strong distinction between song lyrics and poems. Some poems can be set to music -- I've done it -- but they tend to remain recognizably poems.

Meanwhile, I'm about 2/3 of the way through The Dream of Scipio by Iain Pears, a book which presents its own fascinating difficulties for me. You see, it's historical fiction. In science fiction and fantasy, the genres that I'm comfortably familiar with, you can generally count on the author to give you all the information you need to make sense of the book. You are, after all, a guest in the author's private world: it's the author's job to make you feel at home there, at least by the time you get to the end.

The problem with historical fiction is that you're not in the author's private world: you're in this world's past. And history has been a subject I've mostly avoided, in my past. So there's always the question, when I run across a character or an incident in the book, of just how much is history and how much is fiction. And there's always the question of whether I'm missing something important by not knowing. As a result, I find myself spending a good deal more time in Wikipedia than I do with most of the novels I've read. Fascinating in its own right, if somewhat dangerous.

mdlbear: (spoiler)
Tangent Article - Rant Fantastic - Dave Wolverton
I recently read in Tangent #17 James Gunn's response to a question by Cynthia Ward, who asked about the dichotomy between mainstream literary standards and those of science fiction and fantasy, and asked someone to "Name names."

I respect Gunn's work a great deal, but I disagreed with his response, partly because I began my writing career in the literary mainstream, made my first money in that field, and eventually came to recognize that fundamentally I disagreed with much of what was being done. There are differences between my approach to writing as a modern fantasist (who makes no apologies for being a commercial writer) and the approach taken by literary mainstream writers. The issues aren't trivial.

Cynthia asked what the earmarks are of a mainstream story, and Gunn responded by saying that its "distinguishing characteristic is that it has no distinguishing genre characteristic."

This is of course what my professors taught me in English Lit 101. And it is somewhat true. The Western genre is defined by its setting. The Romance and Mystery genres are defined by the types of conflict the tales will deal with. Speculative fiction may be defined by the fact that we as authors and fans typically agree that nothing like the story that we tell has ever happened--though one could well argue that speculative fiction isn't a "genre" in the classical sense anyway.

But I contend that over the past 120 years, and particularly in the last 20 years, the literary mainstream has evolved into a genre with its own earmarks. It is just as rigid in its strictures and just as narrow in its accepted treatment of characters, conflicts and themes as any other genre.
(Via this post by [livejournal.com profile] kayshapero a couple of days ago.)
mdlbear: blue fractal bear with text "since 2002" (Default)

I can't decide whether the organization described in this article from Ireland Online is misguided, stupid, or willfully ignorant, but they appear to be completely serious.

A group of Christians determined to address what they claim are the myths of The Da Vinci Code are to offer the Irish public a mental health warning on the film before it hits cinema screens.

Hope Ireland, made up of Catholics and Protestants, will run an information campaign in a bid to expose author Dan Brown\u2019s best-seller as nothing but cunning fiction.

The group, supported by Church of Ireland and Catholic clergy and members of the secretive Opus Dei organisation, claims The Da Vinci Code does not know where the boundaries between truth and invention lie.

Which part of "fiction" didn't they understand? (From Gary McGath.)

Most Popular Tags

Syndicate

RSS Atom

Style Credit

Page generated 2025-06-09 02:02 pm
Powered by Dreamwidth Studios