Oh, I don't know. My SFF genre is all about “what if?”…
The combination of putti and Pan is more improbable than the hero.
Hold onto your hats… this is gonna be a wild ride.
Miranda Devine, author of a book exposing Hunter Biden's laptop contents, discovered that a complete counterfeit of her book — cover and all — had been listed for sale on Amazon and had, as a counterfeit, apparently reached #9 as a paperback bestseller in its genre.
It's not clear when she discovered it (the internal evidence of the articles suggests 11/30), but this article covers the issue as of 12/3/2021. To add insult to injury, the counterfeit claims a publication date one day earlier than the real book. It also states that it was released one day before the official version, contains 124 pages, compared to 224 in the real version, and is “independently published,” as opposed to being published through the Post Hill Press.
I've just come across Roy Jacobsen's excellent essay on the Icelandic Sagas as the “Backbone of Nordic Literature”, and I wanted to comment on it here.
If you're not familiar with the genre, let me offer a quick and somewhat simplified overview…
Iceland was settled by Norwegians in the second half of the 9th century during a period of strife concerning the various Norwegian kings and their ambitions. The descendants of the settlers themselves claimed that this was the primary cause, but later historians point to shortages of arable land, etc.
The founding population seems to have been mixed (Scandinavian, Scottish, Irish) based on genetic evidence, but culturally the Icelanders thought of themselves primarily as Norwegian settlers, and the language they used for their writing was Old Norse, once they started writing things down.
And they had a lot to write about. They were intensely interested in history, especially family stories and genealogy, and they kept records of their own settlement's important events. (This is, in fact, where the settlement of Greenland and the brief settlement in Vinland (Newfoundland) circa 1000 AD are recorded.)
(incidentally, they were also interested in self-government and decided many issues at the Althing, the world's oldest surviving parliamentary organization. This was where outlaws were decreed, punishments determined, and — most notably — the decision was made for the entire population to convert to Christianity in 1000 AD, from the “Red Thor” to the “White Christ”, as a way of settling various religious disputes — apparently the possibility of the Christian heaven after the forgiveness of sin appealed more than the impossibility of Valhalla for non-heroes.)
The most startling thing for first-time readers of this medieval corpus is that many of these sagas are famous as world literature, and they read as surprisingly modern novels in most ways.
All of the above is just some context, in case you are not already familiar with the genre.
Roy Jacobsen starts his essay by summarizing one story (þáttr) about the complicated adventures of Audun.
Given language, what do you use it for? Teaching moral tales…
I've often contended that storytelling is as old as humanity, and as fundamental a tool as opposable thumbs. Not only do we tell each other useful things about physical reality as we understand it, and make plans for actions, but we also talk about social reality — how humans behave, and why, and what the best strategies are for getting along with other humans. This is how we learn proper behavior. We use stories to illustrate these strategies, to explore what can happen or has happened in the past, and why.
It's no surprise that many of our stories are moral tales. How could it be otherwise, when we need to understand other people, and seek a model for our own choices?
There is often a “modern” complaint about black-and-white characters, that people are really more complicated than that. And modern literature is often fascinated by more “realistic” characters who act in, shall we say, morally complicated ways.
But the older stories: the religious tales, the ancient epics, the traditional ballads, the fairytales — all of these tell their tales using more archetypal characters — the young, the good, the well-meaning, the helper, the evil, the ill-wishing, and so forth. It's not so much that these are unrealistic characters. It's more that they are stripped down to their essentials of character and motivation, always recognizable.
Periodically, the evolutionary psych crowd rediscovers the persistence of this way of telling stories.
The novel is an excellent way of absorbing the feel of another culture, whether from another place or from another time. We read many an historical novel set in a past distant from the author (Walter Scott, Dumas, etc.) with great pleasure, without thinking too much about the author's subtle translation for us from the usages of his chosen period for our modern interpretation (and when that author is himself at some distance in time or place from us, this takes on almost a meta flavor).
I myself am very fond of the ancient versions of this — Homer and the much older Trojan War, the monk who transcribed Beowulf, the Icelandic sagas. Still, I don't lose sight of the fact that the forms in which these things survive are written down long after the actual events or invention and, if not explicitly interpreted for the envisioned audience, are nonetheless necessarily viewed through the assumptions of those who have preserved them or retold them.
Writers of adult contemporary fiction? Well, not so much. Unless they are set in an exotic location or exotic demographic, they expect their audience to understand the culture that they share with the author. And, so, they often waste no breath on explaining the things that everyone knows. They just get on with the story.
Still, time does pass, and the settings of such books do grow distant and unknown from their latest readers. Part of the appeal of these works for modern readers lies in their matter-of-fact portrayal of a different time in the ancestry of the current culture.
The picture above shows a camping trip in 1920. There was quite a fashion for these in the early years of the family automobile. Farmers from the mid-West could now take their families safely and conveniently on a multi-week vacation, participating in one of the luxuries that was previously unaffordable for them, educating the mind by seeing other places, and glorying in the exercise and fresh air that are everyone's right.
How do I, specifically, know this? Why, I read about it, in Gene Stratton-Porter's 1925 novel: The Keeper of the Bees.
This illustration holds a great deal of truth. Notice that if you only spent less time cleaning, you'd get much more writing done.
An article about an older woman writing old women characters caught my attention today.
I'm not yet all that old (67) but there's lots of Alzheimer's in my family (and no long lives) and I can get a bit gloomy guessing how long I have to function adequately (and yes, as in the referenced article, I've acquired my last puppy, too — nothing but older dogs from now on). Despite that, I've started what is intended to be quite a long fantasy series (finishing the 3rd book now before starting to release the first 3). I'm keeping in mind the fate of long-running detective series where the hero gets too old too quickly, and beginning it with a prequel where my hero is 15 (then 20, by book 2).
It's a challenge. My explicit model (not for the story or setting, but for the slowly developing age of the hero and a long series) is C. J. Cherryh's “Foreigner” series: 1st book: 2004, 21st book: 2021, and still going. (Cherryh had already written dozens of books in SFF by then.) One of her major secondary characters is yet another old woman, soon to die at this point in the long story, and she is just as complex and functional (in her way) as anyone could want.
I find that when writing a standalone novel or a short series you can put just about any characters you want into the mix, but when planning a long series, you have to be more cautious about the “team” that constitutes the core — many of them are going to be with you for a long time, and you can't just kill them off, one per book, when you get tired of them, nor can you just accumulate the individual series book's new characters into the team promiscuously without that getting out of hand. You have to give the reader's view into your world a particular continuing focus to make things effective, and characters they can remember from book to book.
But an author's age/health does enter into series planning. I'm glad I had not yet begun releasing the first two books, because a health crisis interrupted everything for a year and a half (all better now), and makes me wary of the “book per year” minimal requirement. On the other hand, a shorter series (3 or 4 book, say) tends to have an overall series arc (like a fantasy quest) that you really need to complete, while a long series often ends without an overall arc — just the evergrowing weight of a team's long life with some sort of satisfying action at the end of each book. If the series ends prematurely with the author's life, less harm is done. So, I plan to keep plugging away on this new series and, with any luck, I'll live forever and start another long series or two afterwards.
The popularity of Jordan Peterson for his intended audience is an interesting phenomenon.
I was provoked today by yet another sneering article, this one from Stuart Schneiderman, about Peterson's use of Jungian archetypes. Schneiderman, who is rarely above a middle-brow level of blogger, enjoys opportunities to look down on popular culture from higher-status heights. His article is an example of a typical elite slur:
Peterson has written books (both academic and popular), speaks publicly, and has upset the wokerei with his objection to modifying pronouns or pronouncements for their comfort, but his main popularity is based on a series of lectures he gives to his university students. I recommend that you look at a few of them to understand what he tells them. His primary audience is young men who don't understand why their lives are a mess, and he gives them both insight and advice for how to change that.
The “Jordan Peterson is a horrible person and, besides, his followers are all rubes” claim that Schneiderman and other elites promulgate is a distasteful manifestation of our time, where people who claim to be intellectuals or thought leaders are far more interested in status among themselves. Socially, the claim is that the audience is dumb enough to be fooled by unsanctioned teachers [and we're not that dumb], and intellectually, the claim is that the particular teaching includes a model that is not rational or moral (or woke), namely Jungian archetypes and traditional modes of behavior [and we can't talk about or believe such things].
Objections to a point of view on these grounds is both very bizarre and alas all too typical these days.
Humans are story-telling animals. All of our perceptions are based upon narratives that are shortcuts to understanding reality, in order to better survive it. We tell ourselves stories all the time, and stories are enactments of characters. Jung's insight was to explain these characters as universal human archetypes.
How could it be otherwise? We are the descendants of people who, when they saw something move in the bush ahead of them, ran away because they feared the possible tiger, not the people who paused to construct a rational analysis of the scene (and were sometimes mistaken). Speed and pre-judgments matter to us. Rational analysis is an afterthought for when we are safe, not when we are in danger.
Our first reaction to any sort of social scene is to immediately assign acquaintances to internal representations of what we know about them, and strangers to various archetypes as placeholders. It is those stand-ins for real people that we are constantly manipulating in our heads as we navigate social situations.
The point of Jungian archetypes is not that they are immutable moral principles subject to rational analysis and debate, but that they are common, perhaps universal, shortcuts to the sorts of narratives embedded in our toolset. Objecting to the concept or particular flavor of archetypes from a rational perspective is like objecting to the fragility of our foot and ankle bones from the perspective of an engineer working from newly designed structures, rather than from the perspective of a “good enough design evolved from pre-existing materials”.
Jung's usage of an insight he devoted himself to is no doubt fraught with human behavior perils on an ad hominem basis, but the insight itself is a fruitful way of looking at the way humans think using their evolutionarily-descended toolkit. After all, we can perhaps improve on morality and rationality through intent, but we can only bring to it the tools we already have. It's a good thing for Peterson to bring those tools to light so that his students can better understand why they have the psychological filters/failings they have, and to suggest functional ways of dealing with them.
Jordan Peterson himself is a man like any other and has a man's personal failings, but ad hominem arguments about him are no more relevant than they are about Carl Jung. Certainly Peterson is incontrovertibly effective for his intended audience. Like many applied remedies, it might be more fruitful to analyze why he is effective, than to deny that he could be, in principle.
If Schneiderman and others think humans can embrace rationality and ignore the older and more fundamental toolset, then they probably believe that humans can change their behavior at will. We can all be thin, and fit, and attentive, etc., just by knowing what the rational behaviors should be (for historically contingent values of “should”). Since that demonstrably doesn't work any better for adults than children, what makes them think this is how humans can actually function?
Footnote: It's not just humans who are story-telling animals. We may model “what-if” plotlines internally all the time, but it's easy to see the same thing happening with other animals such as our pets as they scheme to steal food from each other or evaluate what might happen if they misbehave. The better an animal can evaluate situations before acting, the more likely it will survive to breed.