Jun. 1st, 2011

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Image courtesy of Wikipedia

The Lost Race Story. Stories in which unknown lands and races are discovered have been written for centuries, but in the last two decades of the 19th century a new type of story involving their discovery was created. The genre began with the 1885 publication of H. Rider Haggard’s King Solomon’s Mines and the 1887 publication of Haggard’s Allan Quatermain. These stories created the blueprint for dozens of writers to follow and established the Lost Race story. Lost Race stories can be defined as stories in which travelers from the modern world discover lost, forgotten, or hidden races, cities, cultures and civilizations in hidden or remote valleys or undersea or underground areas on or beneath the Earth.

Read more on BeyondVictoriana.com
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Note: While enjoying Wiscon this weekend (con report forthcoming), check out my latest review over at Tor.com. Delayed updates to Con Extravaganza & Asian Identities, Crossing Borders will be posted later this week.


During the Tribeca Film Festival, I managed to catch a showing of Detective Dee and the Mystery of the Phantom Flame. Watching the preview, this film promised big set pieces, lots of fiery explosions, and awesome martial arts action. A film that has Chinese alternate history and features a detective worthy of Sherlock, a black market underground beneath the Forbidden City, and a plot involving the mechanics of building a 800-foot tall Buddha—it all sounds pretty steampunk-esque. When a post about it went up on Tor.com Steampunk, people scratched their heads about whether it would qualify, or if, yet again, a fad word had been plopped in by marketing.

I think it’s steampunk in the way James Ng’s art is, the way Shweta Narayan’s “Eyes of the Craven Emerald” is, the way that Yakoub Islam plans to write a Muslim steampunk story set in the twelfth century, and the way that Aether Age plays with the concept of highly industrialized ancient civilizations. So for any nay-sayers who are not calling this steampunk, then I suppose these don’t qualify either. But examining how technology can—and has—developed independently from Western influence is an idea that shouldn’t mark something as not being steampunk.

But enough squabbling about labels, because in the end, this is one kick-ass entertaining film in its own right.

Read the rest over at Tor.com.
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Close up of Danae Stratou's "Desert Breath", which would be an apt illustration for this novelette. Image courtesy of io9. Click for link.

The Xipéhuz were created by “J. H. Rosny (aîné)” and appeared in “Les Xipéhuz” (“The Shapes,” L’Immolation, 1887). “J. H. Rosny (aîné)” was the pen name of Joseph Henri Honoré Böex (1866-1940), a French author. For many years after his death Böex was forgotten, primarily because the majority of his work was written in disrespected genres like science fiction and the prehistoric romance. But in recent years critics and academics have begun paying him more attention and giving him the credit he deserves. Böex produced some remarkable science fiction and is considered (with Jules Verne) to be one of the most influential figures in the development of science fiction in France. “Les Xipéhuz” is one of his most famous, and best, stories.

“Les Xipéhuz” is set in the Middle East, circa 5000 B.C.E. A nomad tribe, the Pjehu, discover a group of “translucent bluish cones, point uppermost, each nearly half the bulk of a man...each one had a dazzling star near its base,” clustered around a spring. When the Pjehu draw close to the cones, or “the Shapes” as the narrator calls them, the Shapes attack them, killing many, although they only target warriors and avoid killing women, children, the sick and the aged. But the Shapes do not pursue the Pjehu beyond a certain distance and ignore them if they leave the Shapes alone. The Pjehu, shaken, consult a group of local priests who decide that the Shapes are gods and that they must be sacrificed to. But the Shapes kill those priests who approach them.

The priests experiment with slaves and determine the distance beyond which the Shapes will not pursue humans, and then the priests set that boundary with stakes and decree that the Shapes are to be left alone. But other tribes are not told about the priests’ decree or ignore it, and members of those tribes cross the boundary and are massacred. Then the Shapes begin expanding their territory. When the tribes try to resist, hundreds of their warriors are killed by the Shapes. All the tribes of Mesopotamia begin fearing for the existence of Man, and some men turn to dark cults.

The tribes’ wise men at last consult the hermit Bakhun. Long ago he had abandoned a nomadic life for a pastoral one, and in so doing flourished. Bakhun believes in odd and unusual things, like the sun, moon, and stars being “luminous masses” rather than gods, and that “men should really believe only in those things tested by measurement.” Bakhun tells the wise men that he will dedicate his life to studying the Shapes. He does so, and draws a number of significant conclusions, most important of which is that the Shapes are living beings rather than spirits or gods.

Read more on BeyondVictoriana.com

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