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Author: Thomas Parker

Embers to Ashes: Earth Abides by George R. Stewart

Embers to Ashes: Earth Abides by George R. Stewart

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Earth Abides-small Earth Abides-back-small

Maybe it’s just the times we live in, but I increasingly find myself drawn to narratives of defeat: Confederate military memoirs, histories of the Decline and Fall of This and That, accounts of Napoleon’s retreat from Moscow or Custer’s Last Stand. I suppose that’s why this summer, forty years after I blew it off when it was assigned in one of my first college classes, I finally got around to reading Earth Abides.

George R. Stewart’s 1949 post-apocalyptic novel is one of the most famous one-offs in the history of science fiction; it won the first International Fantasy Award in 1951, and in all the decades since, the book has rarely been out of print.

Stewart was primarily an English professor and historian and an only occasional novelist. In his first specialty he wrote books on English verse technique and composition; in the latter his most well-known works are a history of the Donner party, Ordeal by Hunger (1936), and a finely detailed, minute-by-minute account of the climax of the battle of Gettysburg, Pickett’s Charge (1959). Storm (1941) and Fire (1948), two novels Stewart wrote before his sole foray into science fiction, show his concern with large, impersonal forces and their effects on the enduring land and the ephemeral creatures that inhabit it. His most famous book takes that scientific detachment and interest in process many steps further, to powerful effect.

Earth Abides tells the story of Isherwood Smith, a young college student who lives in Berkeley, California. When the book begins, Ish is camping in the Sierra Nevada Mountains, doing the fieldwork necessary for his graduate thesis, The Ecology of the Black Creek Area, intended to be an investigation of “the relationships, past and present, of men and plants and animals” in the region. The thesis will never be written, though Ish will spend the rest of his life wrestling with fundamental questions regarding the connections between human beings and the natural world they so briefly occupy.

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Only Disconnect: Ray Bradbury’s “The Murderer”

Only Disconnect: Ray Bradbury’s “The Murderer”

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(1) Amazing Stories-small

High on the list of unwritten books that I’d like to read is An Encyclopedia of Misconceptions. I am unswervingly committed to traditional paper books, but this is one that I would have to read electronically; a physical book would just be too damn big. Everyone would have a chapter — men, women, LBGTQ folks, atheists, evangelicals, millennials, seniors, Democrats, Republicans, police officers, bus drivers, food service workers, Fortune 500 CEO’s, any racial or sexual or religious or social or political or generational or economic group that you can name, in fact — everyone feels misunderstood. Everyone knows themselves to be quite different from what other people assume them to be.

Such wrong ideas can attach themselves to almost everything in our lives, even including the books that we read. For example, one widespread misconception holds that the main purpose of science fiction is to predict the future! This notion is most rigidly held by those who have almost no familiarity with any actual science fiction. Such people gleefully point out SF’s failure to predict the internet (even though… well, we’ll get to that), or they “prove” the shallowness or silliness of the entire genre with the help of tales from the yellowing pages of Amazing Stories, yarns that depict a 21st century where everyone enjoys lives of anti-gravity-belt enhanced leisure with every want met by humanoid robot laborers (which hasn’t quite happened, in case you haven’t noticed).

But of course H.G. Wells didn’t really think that we were going to be invaded by Martians or believe that it was possible to concoct a formula that would make us invisible, nor was he convinced that vivisection could make the family dog into something that was virtually human. His books were really comments on the present in the form of visions of the future, and the technologies he invented were tools that enabled him to bring his own society and its potentialities into sharper focus.

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Old School: The Iliad

Old School: The Iliad

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A while back it was time to hit the dreaded “To Be Read” pile, and I found myself in the mood for a good, old fashioned yarn full of blood and sweat and battles with edged weapons and feats of valor and derring-do, a tale of larger than life heroes and their mighty deeds — in other words, something old school. ( I had just finished reading a volume of John Updike short stories set in suburban, middle-class Pennsylvania, so I was ready, as John Cleese used to say, for something completely different.)

While not entirely eschewing the new, in my reading choices I do tend to lean toward older, more established books and authors (test of time and all that, you know — plus, they’re usually cheaper) and this time I decided to skew just about as far in that direction as it’s possible to skew. I reached all the way down to the bottom of the stack — three millennia down — and pulled up The Iliad. (At that moment, Western Civ teachers across the land contentedly smiled in their sleep without even knowing why.) Having “little Latin and less Greek” (as in none) I chose the highly regarded Robert Fagles translation, which has been laying around the house unread for the last, oh, twenty five years.

What follows is in no sense a learned reading of The Iliad (as will immediately be apparent!), but is simply this reader’s untutored reaction to his initial encounter with one of the world’s great books. It’s rather like a mayfly’s head-on meeting with a Mack truck; the insect’s reaction may not exactly be profound, but it has no doubt that it has been hit by something too big and serious to ignore.

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Stan Lee, the World’s Greatest Comic Book Writer: 1922-2018

Stan Lee, the World’s Greatest Comic Book Writer: 1922-2018

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(1) The Elder Statesman-small

I never really thought Stan Lee would die. I’ve been saying for years that as long as there was a single nickel to be squeezed, Stan the Man would be making his cameo and taking his executive producer credit and raking in the long green.

I guess we now live in a nickleless universe, and there will be a blank spot somewhere around the margins of the next Marvel cinematic blockbuster. Stan Lee took a last intrepid leap into the Negative Zone on Monday, November 12. He was 95.

As W.S. Gilbert wrote long ago, “I often think it’s comical/How nature always does contrive/That every boy and every gal/That’s born into the world alive/Is either a little Liberal/Or else a little Conservative!” Gilbert and Sullivan never wrote a comic opera about superheroes (oh that they had!), but the observation applies as much to comic books as it does to politics. It’s certainly possible to appreciate both, but at the end of the day you’re either Marvel or you’re DC.

When I was a kid in the 60’s and 70’s, in the prime of my comic book buying and reading years, I was DC all the way. I had hundreds of comics, but very few were Marvels. There was something about them that I just didn’t trust. The combination of self-mockery and over-the-top rhetoric put me off. The goofy syntax and leather-lunged self-promotion that screamed from a thousand Gil Kane-drawn covers proclaimed that unlike the solid, stolid DC products, these weren’t serious comic books. (You know what I mean — titles like “Whence Comes the Werebeast!!” and banners proclaiming that the story is “Another Mighty Masterpiece in the Munificent Marvel Manner!!” and stuff like that.)

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One Alone: First Man

One Alone: First Man

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I am a child of the Space Age. Growing up in Southern California in the sixties as the son of an aerospace worker, the sound of sonic booms from planes flying from Air Force bases in the High Desert were as ubiquitous during my childhood as Beatles’ tunes. I played with Mattel’s Major Matt Mason space toys (go on eBay and prepare to be shocked and awed), I snacked on “space food sticks” (really nasty) and drank Tang (more fun if you shook up the jar, unscrewed the lid, and inhaled the fumes than it was as a beverage), and, along with millions of other people, on the evening of July 21, 1969, I sprawled (in my footie pajamas) in front of a cabinet television set that weighed more than some of today’s cars, and watched as Neil Armstrong took his first step on the Moon. So, being a child of the Space Age, it only follows that my favorite movies are tearjerkers… tearjerkers like The Right Stuff, Apollo 13, and the 1998 HBO miniseries From the Earth to the Moon.

In fact, there is nothing that gets my waterworks started faster than a scene from “1968”, the episode in From the Earth to the Moon that chronicles Apollo 8, the first manned mission to reach and orbit the Moon. When the moment comes when Frank Borman, Jim Lovell, and Bill Anders see what no human beings in the long history of our race had ever seen before — the Earth, still and bright and silent, rising over the surface of another world… well, I need a tissue right now, just thinking about it.

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Proud to Be Ashamed: The Destroyer

Proud to Be Ashamed: The Destroyer

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(1) Destroyer Poster

There are guilty pleasures, and there are guiltier pleasures, and then there are the pleasures that have you wearing an orange jumpsuit and standing in front of a stone-faced judge with your hands and feet shackled together, wretchedly staring at the floor, unable to look anyone in the eye, so tongue-tied with shame and degradation that all you can do is whisper, “I just can’t help myself, Your Honor… I never meant to hurt anyone, and… I know it’s wrong, and… and, there’s no excuse… but… I just can’t help myself.”

That’s reading The Destroyer.

The Destroyer series was part of the wave of “Men’s Adventure” paperbacks that sprang up like mushrooms during the 70’s and drove decent literature like Jane Eyre and Valley of the Dolls off the shelves and into the outer darkness, there to be pulped and perish. The catalyst for the whole seedy genre was the 1969 publication of War Against the Mafia by Don Pendleton, the first entry in his wildly successful Executioner saga, which featured Vietnam veteran Mack Bolan waging a single-handed war against the Mafia, just like it said in the title.

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Burbank Baghdad: Fake Folk Wisdom from the Movies

Burbank Baghdad: Fake Folk Wisdom from the Movies

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Many people collect something, whether it’s rocks, stamps, coins, glass animals (especially favored by emotionally fragile Southern girls who find themselves trapped in Tennessee Williams plays), or in this social media era, grievances. A lot of us here at Black Gate collect books. For almost all of my life, this has been my own particular preoccupation, but much as I love my books, I must admit that collecting them has its drawbacks, a fact I’m reminded of every time someone new comes to my house and I again have to answer the question, “How many of these have you read?”

I do have another collection, though, one which costs nothing, never needs to be dusted, doesn’t require a forklift and flatbed truck to transport, and takes up no room. (Except perhaps emotionally.)

Several years ago, I was watching The Vikings, a 1958 bit of pseudo-historical nonsense starring those Nordic icons Ernest Borgnine, Kirk Douglas, and, fresh from the fjords of Brooklyn, Tony Curtis. At one point during the festivities, some horn-hatted character or other turned to one of his fellow Norsemen and declared, “Love and hate are horns on the same goat.” I instantly experienced a celluloid epiphany, and my new collection was born; from that moment on I began to obsessively accumulate Fake Folk Wisdom From the Movies.

You know Fake Folk Wisdom. You’ll find it in any movie set somewhere east of Suez, or in which native Americans appear, or where lederhosen-wearing peasants named Hans and Karl grab pitchforks and head up the hill to storm the castle. You’ll be knee-deep in it in any movie where a Swede portrays a Chinese (Warner Oland as Charlie Chan) or a Hungarian plays a Japanese (Peter Lorre as Mr. Moto). Virtually every line Anthony Quinn ever spoke in his sixty years in Hollywood was Fake Folk Wisdom of one sort or another.

Fake Folk Wisdom didn’t issue from the depths of the Black Forest, nor was it born on the banks of the Nile, the Danube, or the Ganges, but instead flowed freely from the bourbon bottles that graced the desks of writers’ bungalows at Paramount and Warner Brothers, Twentieth Century Fox and RKO.

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Sadistic Vengeance and Grotesque Death — Still Only 20 Cents!

Sadistic Vengeance and Grotesque Death — Still Only 20 Cents!

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(1) Adventure Comics 431-small

Just about anything goes in comics today; in terms of sex, violence, subject matter, and language, there aren’t many restraints remaining. That’s not a curmudgeonly complaint but rather a simple statement of fact, and whether the medium has become a free fire zone because of the general disappearance of boundaries in all areas of our culture, or simply because comic creators know that the overwhelming majority of their readers are adults doesn’t much matter. Whatever the cause, it’s easy to pinpoint when comics began to change (for better and worse) from what they were to what they are; the epicenter of that tectonic shift was the so-called Bronze Age, from 1970 to 1985, a period that began with a still-benign Batman polishing his giant penny and ended with Green Arrow’s kid sidekick, Speedy, shooting smack.

So many comic book barriers have come down since those far off days that it’s hard to remember when there were such barriers, and just as hard to remember the earthquake-like impact that resulted when one of those Comics Code Authority-enforced walls was breached. (One unintended but inevitable consequence of the eradication of limits is the loss of the ability to be shocked, or even to recall what being shocked felt like.)

One of the key temblors of that revolutionary Bronze Age era was DC’s Adventure Comics 431, January-February 1974. It featured a character we had learned not to expect too much from — the Spectre, who had last presided over his own title for ten issues from 1967 to 1969. The twelve cent Silver Age Spectre was a comic book of unsurpassed dullness, but those of us privileged to pluck Adventure 431 off the drug store spinner rack knew very quickly that this time our two dimes had bought us something really different.

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A Perfect Dream of Summer: The Mad Scientists’ Club

A Perfect Dream of Summer: The Mad Scientists’ Club

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In 1970, when I was ten, my city (Bell Gardens, California) built a new state-of-the-art library — right across the street from my house. (It was then that I knew that I was the favorite of the gods. The vicissitudes of life have since led me to revise that reckless assumption, but then I no longer live across the street from a library.) Every time I walked through the building’s doors (five or six times a day, probably), I sent up a silent thanks to Richard M. Nixon, whose name was prominently displayed on the dedication plaque by the entrance, even though he really had nothing to do with the project. (He had other things on his mind in those days — boy, did he.)

I practically lived in that library, and I knew every shelf of the large children’s section intimately; I could have drawn a quite accurate map of the layout from memory, with large arrows pointing to the location of my favorite books, many of which I checked out repeatedly and read over and over again. I retain fond memories of those stories, though nothing in the world would persuade me to reread most of them.

This is because few things in life are more hazardous than returning to a beloved children’s book after the passage of many years. It’s doubly dangerous if the work in question is one that’s “just” a children’s book and not one of those — like Alice in Wonderland or Peter Pan or The Wind in the Willows or the Little House books — that depth and brilliance and long endurance have accorded the status of literature.

There are exceptions, though, children’s books that might be less ambitious than the aforementioned classics but which can still engage an adult reader in search of something more than mere nostalgia. Exceptions like The Mad Scientists’ Club.

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Harlan Ellison 1934-2018: Essential and Impossible

Harlan Ellison 1934-2018: Essential and Impossible

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Did you feel that? That sudden drop in pressure, that slump, as if the world itself had let out a long-held breath? I’m sure it was registered on every spot on earth, from Cleveland to Calcutta, from Reykjavik to Tierra del Fuego. That was Harlan Ellison leaving the building. No man was ever less likely to die peacefully in his sleep at the ripe old age of eighty four, but that’s exactly what happened on the morning of June 28th, and the effect is tantamount to global nuclear disarmament. The immanent threat is over; finally, we can all relax a bit.

An authoritative assessment of Ellison’s tumultuous sixty year career can now begin and is far beyond the scope of this piece, even if I had the ability to do it — which I don’t. All that I can say is that the world has instantly become a less interesting, less vital place than it was when the human bomb that was Harlan Ellison was still ticking away. He was one of those rare people who can actually alter the atmosphere; in his presence, the air was sharper, the light brighter, the temperature higher, and everything seems a little dulled and diminished now that he’s gone.

The couple of times that I met him in person — in the mid 70’s, at the legendary Change of Hobbit bookstore in Los Angeles — the intensity and excitement radiated from him in waves. It was actually a bit frightening, like being too close to an enormous bonfire. It was immediately evident that this was a dangerous person; he would break boundaries in ways good and bad, because that was life to him, and he didn’t know any other way to exist. It’s amazing that he lived to be eighty four — by all rights he should have succumbed to stroke or homicide long ago.

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