Black Gate

I had thought to dive today into Joseph Campbell on the hero and the so-called monomyth–another irritant that, one could wish, might aid in the production of a pearl of wisdom. I have been distracted, however, by a self-labeled polemic on the topic of fictional women as kick-ass fighters that referenced my post of two weeks ago. Which put me in mind of a long-running, intermittent sort-of argument I’ve had with the most excellent sf writer Ann Zeddies, a long-time student of tae kwon do, as to whether women really could go up against men in combat and win before the invention of that great equalizer, the gun. My position is yes, provisionally.

Tomoe Gozen, 12th-century female samurai.

First of all, let me say that I mostly agree with the aforementioned polemic (which is not on the subject of women fighters generally). I certainly agree that Laila Ali’s physique is much more believable for a woman fighter than the lollipop figure favored in Hollywood actresses (huge head, stick neck and body). Secondly, let me say that I have no street cred as a fighter. In my 25+ years in the martial arts, I’ve never used it outside the dojo, unless you count last summer when I tripped hard on the sidewalk and actually rolled instead of landing in a bone-breaking crash. However, one of my seniors had come to our aikido school as a street fighter–in a South Philly gang, family members in the mob, etc.–and also after many years in other martial arts, so I feel free to rely on his insights and conclusions. Moreover, though this was in dojo conditions–meaning at the minimum that you know you are about to be attacked–I have many times successfully thrown and/or pinned men who are significantly taller, heavier, and stronger. So my thoughts on women fighters are not totally pulled out of a dark and hidden orifice.

All people, male or female, have physical limitations. …

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It’s been almost four years since I’ve moved, and half of my library is still in boxes, mainly because the bookshelves I’ve been wanting to install haven’t been.  Instead, there are some rather rickety temporary structures that weren’t really designed to hold books (more to display things) which are sagging under the weight of the volumes I’ve so far unpacked.  As it happens, I hope this weekend to get started working on the library, not so much the bookshelves as reorganizing what I already started, and soon realized I’d planned wrong, doing some painting and generally getting ready to install real bookshelves at some point.  I’m actually looking forward to delving into my collection and dusting off some stuff I’ve forgotten about (and/or haven’t gotten around to read).  In fact, the only thing I liked about moving was the chance to start reorganizing my books/records/CD collections, though, as the date of the move got closer, there was too much last minute stuffing into boxes hat I’m not entirely certain if all my “L” authors really are in the boxes with the “L” on them.  Could mean “late additions.”  We shall see…

Which brings me to this thing, an online way for you to catalog your stuff and get recommendations from people who like the same stuff you do. At this point, the last thing I need is more suggestions on what else I should be reading in addition to what I already haven’t caught up with, and I really don’t need a database, but I have started to add titles to the list as I finish them. I really don’t know why I’m doing this, other than that I can. Eventually, I hope to have everything shelved in a real library so that if I need something, I can physically see and retreive it. That, to me, is part of the enjoyment of books as objects after you’ve read them. But, seeing as how we are all moving, like it or not, to a virtual life in which we download pdfs and mp3s, it seems like a good place as place as any to start building these other shelves. At least they don’t cost nearly as much…

 

 

 

I’m an unrepentant role-playing gamer; an addict, if you must know.  My gateway drug was the original Dungeons & Dragons – the boxed set with the pseudo-Smaug red dragon on the cover.  My grade school chums and I played at every opportunity, from quick encounters at recess to marathon weekends of goblin-slaughtering and lair-looting.  OD&D was just the beginning.  From there, I branched out into other games: AD&D, Traveller, The Fantasy Trip, Gamma World, Star Frontiers, Call of Cthulhu . . . the dragon’s share of my formative years were spent tooling around the galaxy, delving into catacombs, or losing my sanity to various squamous and rugose horrors.

The games changed over the years.  Oh, I still delve into OD&D, part of the so-called “Old School revival”, but most of my gaming time is spent playing D&D 3.5 or a homebrewed d20 version of Warhammer 40K: Dark Heresy.  I’ve explored story games like Grey Ranks and In a Wicked Age, where the tale being told is more important than the framework of rules.

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Most sf/f criticism can be sorted into three four heaps (as far as I’m concerned): book reviews, literary history, snark, and stuff that doesn’t interest me. The first two categories are obviously useful, I expect; I wish those last two categories overlapped more. One wastes a lot of time in the snarkosphere.

Every now and then, though, I read something that goes elsewhere. I wouldn’t call it a heap–there aren’t enough things there to qualify as a heap. More like a stack. These are pieces of sf/f criticism that help me think about reading and writing–that enrich my experience.

Like I say: there’s not much there. But sf/f isn’t unique in that respect: much (not all) literary criticism strikes me as stuff by people who can’t read who are telling other people how to read. I generally find it unreadable and, what with one thing and another, I have to read a lot of it.

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Bill Ward recently posted two articles on “hyperspeed reading,” the first a reaction to columnist Sarah Weinman’s claim of reading 462 books in a year, and the second taking a deeper look into reading speed.

I’m not a slouch when it comes to the amount of books I read in a year. I finished eighty-one in 2008, but that makes me look positively lazy and incompetent compared to Weinman’s mid-four centuries claim.

However, here’s my confession. I actually am a speed-reader. I taught speed-reading and reading comprehension courses for two years as part of a private reading school that sent me around the country teaching through various University programs. Now I am coming forward to talk about my own experience with what “speed-reading” encompasses and discuss what happens in your brain when you step on the gas and blast through pages like Wally West. (Or Barry Allen. Or Jay Garrick. Or….)

There exists no single speed-reading method. A number of different schools teach varying techniques. Some of these I do not consider “reading” at all, but a form of skimming. The method that I taught uses a broad approach that combines several techniques, but still requires that students read every word. Nevertheless, I offer this disclaimer about what follows: this is only one of the ways of teaching what schools classify as “speed-reading.”

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As a recovering English major, I sometimes just like to read for the hell of it, enjoy the story and not worry too much about literary merit or what any of the stuff might symbolize.  Moby Dick, after all, is a great yarn about high seas adventures.  But, then again, you’re missing something if you don’t also ponder what it is has to to say about God and the existence of evil (which is nothing particularly uplifting; Melville will never make the Oprah book club).

When I write reviews, I have to wear my English major hat, and frequently I realize that I missed something that I might not otherwise have considered if I were just reading for amusement and didn’t have to think about it in an attempt to say something semi-interesting that might actually be helpful to someone who may not have read the work in question, or read it the same way I did.

I actually like reading some literary criticism, but what I can’t stand are critics who suffer from “what I’m saying is more important than what the text is actually saying” syndrome.  And, sometimes, I just don’t feel like working that hard.  Case in point is this post at the blog for Vector, the critical journal of the British Science Fiction Association. I think I understand Niall Harrison’s responses more than I understand the points taken from Peter Barry’s Beginning Theory though, not having read the book (nor do I intend to) that’s probably my shortcoming, not his.
 

 

 

 

I have it on good authority (Laurene Landon herself) that Hundra 2 is filming in Portugal this summer, with the same director as the original.  He’s in Sintra/Cintra now.  I’m hoping it’s another good-looking widescreen production rather than a direct-to-video cheapie.

So Hundra is once again keeping the embers alive, this time of Sword and Sorcery movies . . .