reviews – Treehouse Writers

I’ve been posting less frequently, especially my book reviews. Fear not, I have not departed for illiterate climes. I value our community. And I do have things to say about the books I’ve been enjoying. I just have been reading and writing much less.

In mid-May, I experienced a sudden, severe decrease in the visual acuity of my dominant eye. I’ve been to three doctors so far, including a retinal specialist, and they can’t find the cause. The good news is that they’ve been able to rule out the Big Bads, which is reassuring but frustrating. I’ve tried wearing an eye patch, which gives me better vision through my non-dominant eye, but the loss of depth perception drives me crazy. (Who knew how much depth perception matters when reaching for a mouse?) Meanwhile, my time at the computer is limited (ditto piano, unless I’m playing from memory). Eyestrain headaches set in after only a short time. Hence…

Audiobooks to the rescue!

I discovered the delights of recorded books when they came on reel-to-reel and then cassettes. And then CDs. I still have a collection of my favorite novels and classes. Fast forward a number of years to oh joy! I can not only check out physical audiobooks from my local library, I can borrow digital editions, too! I got into borrowing through the discovery of many podcasts featuring stories read aloud (my favorite was “Phoebe Reads A Mystery”). Alas, these were usually one chapter per episode, liberally laced with ads. Not so the library editions (which also pay royalties to the author and narrator through the price the library pays for its copies).

I’ve worked my way through most of Alexander McCall Smith’s books (especially the “Lady Detective Agency” series), Tony Hillerman’s mysteries, and Anne Perry’s Thomas and Charlotte Pitt mysteries.

What have I been listening to recently? Read on for my most recent audiobook reviews!

Making It So: A Memoir, written and narrated by Patrick Stewart (Audiobooks.com)

Be still, my heart. Sir Patrick Stewart’s life in his own words, in his own voice. Continue reading “Where’s Deborah? Two Audiobook Reviews”…

A life-changing moment with Cordwainer Smith

by Gillian Polack

May 20, 2024May 20, 2024

2005 was a low point for me: I had lost all my confidence. I was pretty certain that I was a failure in all things intellectual and that I couldn’t write, but I was still very determined to keep going. I stayed with what I loved, even when I was pushed to the side, time after time. People with a single course as an undergraduate ere given work ahead of my PhD in a field, and it hurt.

Everything I wrote that year and into 2006 has underlying rumbles of my lac of confidence. It took me a few more years to discover that the problem had never been with my intellect. Sometimes it was because I am chronically ill (and one is not supposed to be intellectually competent and ill, both), sometimes because I’m not male (such an Australian bias) and, most often, because I’m Jewish. Nice people don’t say antisemitic things… they simply leave Jews out of things, or choose someone ahead of them.

How did my self-image begin to change? When I was at a Melbourne science fiction convention, I was asked to join a panel on Cordwainer Smith. Not by the convention planners, but by the panel itself. I said something and Bruce Gillespie asked me to write it up. This is what I wrote for Bruce:

Cordwainer Smith: reflections on some of his themes

Canberra and Norstrilia

Canberra in the 1960s was a mere kernel of the Canberra of 2005. It was small and green, mostly buildings and public parkland, surrounded by the enormous brown of rural Australia. This was the Canberra that Corndwainer Smith knew. Not the small internationalist city of today, with its sprawl of suburbs and its café culture, but an overgrown country town that just happened to be the seat of government for a whole country. You can see a sense of this Canberra in Smith’s work, the idea that Norstrilian government is more a set of social compacts than a formal hierarchy, the idea that family and inheritance counts (the earliest settlers in the area still farmed sheep on what are today mere suburbs, Kambah for instance was farmed by the Beattie family) and the ideal that the country is vast and brown and far diminishes the civilisation it nurtures.

There are other reflections of Australian life of the time in Smith’s work. Immigration, for instance.

While policies were much more open than it had been, the inheritance of the White Australia policy was still very apparent in the people of this country. Much of Australia was still white, still Anglo, and still very conservative. In many places, of which Canberra was one, walking down the street one could very easily assume that the only non-Anglos were diplomats, that Australia didn’t let any strangers cross the border unless they had proven their credentials.

This was not the reality. Cordwainer Smith came to Australia at the crucial moment when White Australia was being broken down – indigenous Australians were finally given voting rights, migrants came from places other than the United Kingdom. The effects of this change were not yet apparent, however, outside Melbourne and Sydney and places such as the Queensland canefields. The reality of Canberra in the 1960s was that the hydroelectric scheme and more open immigration policies were bringing more and more people from other parts of Europe into the region – but walking down a Canberra street, the feeling was still very much of the dominant ancestry being British.

The Australia Smith saw was very much the cultural blueprint for Norstilia, with its responsibility towards remembering the British Empire and preserving certain cultural values.

At that time, Australia had a very restrictive economic policy. This included a barrage of tariffs and customs restrictions that have since been phased out. It was openly admitted that these restrictions were to develop the local economy and to protect important elements of it – the Melbourne clothes industry was of particular importance, for instance.

The effect of these import restrictions on everyday life was very marked; Australia was wealthy, but not quite first world. We took a long time to adopt innovations from outside, and luxury goods were particularly highly taxed. At the same time, because food and accommodation were much cheaper than in many other countries and Australian workers worked shorter days, even the poorest person was said to be richer than wealthy people elsewhere, in terms of lifestyle.

Add this to an important religious factor: the default religion people wrote on their census data as Church of England, and the Queen was both head of the Church and head of State. The political crises of the 1970s which disputed and lessened the impact of the royal family had not yet happened, and the most important Prime Minister of the 1960s, Sir Robert Menzies, was a keen royalist. A keen royalist and rather autocratic leader – the exact mix that Cordwainer Smith struggles to describe from a slightly bemused outsider viewpoint in his depiction of Norstrilia.

To the surprised outsider, we could easily have looked like a country that practiced old-fashioned Church of England values. Very High Church – abstemious and full of self-restraint.

Internally, Australia was not really self-restrained. The slow adoption of new technologies such as television were largely because of the distance of Australia from the rest of the world combined with the tariff system. Smith was interpreting this from a High Church view, however, and would be astonished by the current Australia, where abstemiousness and low technology levels are rather absent.

What Smith saw was an Australia ruled by an innocent nobility with power that was mostly inexpressed. This is the source of the apparent abstemiousness as he described it. It showed more in Canberra than elsewhere. There were only two major industries in Canberra at that time: the public service (all national) and the university. Canberra fully understood the outside world, but its lifestyle in no way reflected it. There were secure incomes and workplaces, safe jobs, but not much in the way of luxury. Canberra was a hard place to get to, for a capital city, with only a local airport and only one train station, and it had an extraordinarily suburban lifestyle. It also had (and still has) like Norstrilia an unexpectedly large awareness of the outside world and a sophisticated understanding of how the trade barriers operated.

It is very hard not to see the Canberra of the time in Norstrilia: a place with a sophisticated understanding of the external world, cut off from it and surrounded by bleak but rich countryside dominated by some of the best sheep territory n the world. It is ironic that, well after Paul Linebarger died, Goulburn built its Giant Merino – an enormous grey tribute to the traditional source of wealth in the Canberra region.

The importance of Abba-dingo

Abba-dingo is particularly important in understanding Cordwainer Smith’s constructed universe. It appears in his short story “Alpha Ralpha Boulevard”. Abba-dingo was a carnival head that took coins or tokens and gave prophecies.

Writers looking for the origins of Smith’s odd names suggest that Abba- comes from the words ‘Abba’ for father from Hebrew or Aramaic, and the Australian native dog, ‘dingo’. While this appeals to me because it calls forth an Australian phrase ‘Old Man Dingo’, I have to admit, that I have large problems with this etymology. I suspect that Abba-dingo comes from a word much closer to home for Paul Linebarger and gives strong indications as to how his religious views shape decision in his universe: it comes from the Book of Daniel.

In the Book of Daniel the king of Babylon visits Jerusalem. He finds several royal Jewish children both beautiful and wise, and he proposes to teach these children the lore of the Chaldeans. He had the children renamed. Azariah was renamed Abednego. Naturally Daniel was the hero of this tale, which is all about true prophecy, but Abednego is linked to the true prophecy and survives his stint in a furnace.

Cordwainer Smith makes the link between Abba-dingo and Abednego quite obvious, as Abednego by using the notion of the fiery furnace and in ‘Alpha ralpha Boulevard” the making the imprint of the prophecy by fire. To make sure we don’t miss the point, in the King James Bible Abednego is always spelled Abed-nego and Smith divides Abba-dingo in the same way.

Abba-dingo then, is a closet reference to the Old Strong Religion. The head is an indication that the universe is planned, even when it looks like a game from a penny arcade. It refers back to the innocents and the holy being able to be given and to live the truth, even when they have no understanding of what is happening.

Cordwainer Smith has devised a predetermined universe based very much on a very High Church reading of the Bible. More than that, he writes a belief in the Select (chosen almost before their birth and with predestined accomplishments) eg D’Joan.

Much of his belief is not modern Church of England at all – it is, to me, very nineteenth century and fundamentalist. This is reflected in the nature of most of his short stories. They are Bunyanesque in feel. He emphasises this feel by the style he uses for the stories where the religion is an important component. He works with carefully built-up introductions and focuses on the inner meaning of lives rather than the individuality and personality of the people involved. This implies that these people are more important for the role they play than as game pieces to catch a reader’s eye.

The track of history and the meaning it all leads to is more important than the tale itself. Each story is, in fact, part of the monumental progress of humankind and animalkinds towards a future that Cordwainer Smith only hints at. Just like Moses, we don’t see Smith’s Holy Land except fro a distance – the voyage to it is more important.

What is important about the Bunyanesque progression is not the end of it. The aim is not to provide a guide to holy living or to a perfect future. Cordwainer Smith is not CS Lewis – his fiction does not preach.

What it provides is a mythical background to his novels. If you read all his short fiction then your read Norstrilia, you have the perfect structure for the assumptions that are made in the novel. He provides a legendary past and important indications of the future. This makes him look extraordinarily innovative, as his stories often use an allegorical or fairytale format rather than one more typical of the SF conventions of his time. Understanding those allegorical and fairytale formats and that legendary past and mythic background are important to understanding how to read the universe he created.

For instance, those indications give us important clues to certain characters (eg C’mell) and enable us to read far more into their behaviour and attribute more to their personalities than would otherwise be possible. Without the background, C’mell looks simply obedient and maybe a bit boring, regardless of her physical beauty, and her reward is the reward of dull virtue. When the reader understands that the Norstrilia section is only a small segment of her life, her reactions take on a much greater complexity.

The skill he brings to his more conventional writing highlights that these departures from convention are quite intentional. Cordwainer Smith was not writing a single novel: he was writing an allegorical universe with a complex history, and he was peopling it with real people (of various species) whose personalities and who capacity to determine their own lives were heavily affected by the allegorical nature of his universe.

Abba-dingo points to this. Cordwainer Smith uses the Abadnego joke to both indicate the religious allegory and to mock at it. Abba-dingo is, after all, only a fairground toy – how do we know that it is God speaking through a fairground mechanical or whether the author is using it as a cheap plot device.

This is the brilliance of Cordwainer Smith. He refers to his Old Strong Religion. He uses his Old Strong Religion. He shapes the whole story of D’Joan and the quest of Chaser O’Neill around a particularly archaic version of Protestant belief. All the traditional allegory and the Biblical and religious knowledge that was commonplace in his youth appears in his writing, from the land of Mizraim (Misr) to the need to forego the quest in order to achieve the true goal.

Yet all the while he uses these patterns, he mocks them. He makes it clear that his is an invented universe. He has his heroes play with space and time like gods, while indicating that they can’t possibly be gods. He creates his Vomact family in such a way that the ambivalence between good and evil is perennially pointed out: we don’t know until we are read a given story whether the Vomact will be hero or villain.

In showing the hand of the creator so very, very clearly, Cordwainer Smith casts doubt on his own allegories. He leaves it to the reader to think it through.

The Magic Pudding

by Gillian Polack

April 29, 2024March 29, 2024

In my past and present, I write mostly serious short pieces on speculative fiction for Aurealis, one of my favourite magazines. In 2016 I wrote one slightly-less-serious-than-usual article. This year I have an article that mentions Norman Lindsay in another edition of Aurealis, but it is about one of his most hated rivals.

Early Australian Fantasy: The Magic Pudding by Norman Lindsay

The writing world is full of solid literary criticism. Sometimes, it’s important to see literature from a different perspective.

We bring ourselves to our reading. We bring our dreams about stories and we bring the other stories we’ve read and we bring our expectations. Readers aren’t neutral, so I thought I’d explore how this non-neutral reader sees a particular work. The work in question is Norman Lindsay’s The Magic Pudding. It’s so very Australian, with its larrikin humour and its reliance on British culture and its very Australian animals. It’s one of the great works of Australian fantasy. It’s been written about by so many scholars and studied in all its nuances. Just not the way I will look at it here.

Today I’ll examine The Magic Pudding from three angles. The first is nostalgic. I used to actively look for pudding recipes when I was a child, almost entirely due to this book. Recipes sum up nostalgia in this case more effectively than an analysis of my feelings. The second angle is that the structure of the book is very much derivative of Gilbert and Sullivan. The third is how I read it as a fantasy novel.

Let us look at Gilbert and Sullivan first.

The Magic Pudding would work well with music. The characters sing so very much and we’re given many of their verses. We’re not given the whole of any of the very long songs, which is probably just as well given that the long songs would add another three hundred pages to the story, but the whole novel is riddled with rhyme and song.

The songs fit into the tale in the same way they do in light opera in general. They reflect the characters and they denote a pause in the action and they change the direction of the story and they… do virtually anything. Not all of what they do makes sense logically or in narrative terms, which is why I see The Magic Pudding as a comic operetta, in the style of Gilbert and Sullivan. The world of Bunyip Bluegum is a nonsensical world, where right and wrong and logic do not have standard values, and it’s rather like the world of The Mikado in how one thing leads to another by verbal trick.

The logic uses Australian culture, of course, to underpin its deviance from rational narrative. Two of the heroes are murderers and thieves, for they killed the cook who invented Albert the Puddin’ (we know this because Albert says so) and yet they feel noble and hard-done by when the puddin’ thieves try to steal from them. And the capacity to sing a song and eat a good meal count for more than prior social standing. The world is not an Alternate Earth—it’s the world of a stage. The world of an Australian stage.

So why do I also read this book as a fantasy narrative? Lindsay borrows from the late nineteenth century fantasy writers as much as he borrows from light operetta. It’s the combination of the two that give the book its uniqueness.

The Magic Pudding has some of the critical elements of a fantasy narrative, despite seldom being listed as such. My inner fantasy fan has always read it as a fantasy novel (with rhyme, illustrated), since I was old enough to read. It was on the family bookshelves from then until now, for I have just inherited the family copy. I’m working from the 1958 re-issue of the 1908 original, for those who really need to know these things. (I should have said this right up front, but one thing that re-reading The Magic Pudding does, every time, is lead to a disordered mind.)

When I started this essay, I was going to say that The Magic Pudding is a quest fantasy, but now I’m not sure if it’s that or sword and sorcery, with Albert the Puddin’ taking the role of the sapient and rather unlikeable artefact. Not only is my mind disordered, but it’s also indecisive. Let’s take a look at some of the fantasy elements in the book instead of coming to a firm decision about the book’s inner identity.

There are five critical elements: the hero’s journey, the artefact of power, the stereotyping of minor players, fabulous backstory, a happy ending.

The Hero’s Journey

Bunyip Bluegum starts off as an oppressed near-adult. The source of his oppression is his uncle’s whiskers:

Whiskers alone are bad enough

Attached to faces course and rough,

But how much greater their offence is

When stuck on Uncles’ countenances.

His uncle, being of unkind disposition, refuses to denude himself of them, despite the lack of room for the whiskers in the family home. At first, Bunyip Bluegum eats his soup outside (for drinking whiskers in his soup is intolerable) but finally he is forced to leave home. He takes up a walking stick (for he lacks any possessions and so can’t be a swaggie or other traveller) and becomes a gentleman of leisure. This is not only his first step into adventure, but it demonstrates that he will grow in status as he travels. Like so many young men of good family, the Outback and a walking stick lead to a new and better existence. And so he does. Each slice of the story shows that Bluegum is the centre of the adventures and is the one who, with increasing wit and decreasing morality, helps his friends rescue the pudding and escape from danger.

Precious artefact

Albert the Puddin’ is magic and coveted. His first manifestation was ’in a phantom pot/A big plum-duff an’ a rumpsteak hot‘ on an iceberg. Men and penguins will kill to obtain him and will commit trickery and deceit. While his special property is the unlimited capacity to feed people pudding and while that pudding can be any type (though is most likely to be rump steak, steak and kidney or plum duff) in terms of the fantasy quest it’s his personality that counts.

A sapient quest object has to be either wise or very difficult and Albert is as difficult as a badly brought up eight year old with a talent for rude barbs. When I was eight, I have to admit, I was very relieved to read the episode where he was turned upside down and sat upon, for there is some magic that is better silenced. Still, there is no denying that Albert is a precious object without equal. He belongs in a quest novel. Characters spend their lives defending him, chasing him, questing for him, and eating him.

Stereotyped Minor Characters

The Magic Pudding is a picaresque adventure and one of the most important elements in picaresque adventures is the secondary cast. It has to include scurrilous rogues (in this case, the puddin’ thieves), women who form an attractive background (and even, in the case of The Magic Pudding are rescued from drowning and given a fictional love for a penguin as part of said penguin’s song—I was going to quote from it here, but the best bit is a spoiler and, if we’re talking fantasy, we have to avoid spoilers) but have no personality or role of their own. Minor characters also include, of course, any number of random people and bandicoots for when a character needs direction or assistance. The only thing I’m unsure about in this is whether there are enough bandicoots in classic picaresque fantasy, but that’s another subject and needs to be left for another day.

Backstory

Heroes don’t have much backstory (just uncles with whiskers). Most of them emerge from voids with little experience or personality. They grow into both experience and personality through their adventures and with the help of their sidekicks. These personality-filled support characters have backstory in spades. This backstory serves to set up events, give stories to pass the time, and makes characters more personable when they lack the intrinsic interest of the Hero.

The fact that Sam Sawnoff and Bill Barnacle are prone to singing their background stories merely emphasises the colour they bring to the story. We hear about their adventures on the ice (the prettified version) and romance (the prettified version) and pretty much everything about them that Lindsay can fit into verse.

It’s important to note here that Lindsay came of the same literary generation as AB Patterson and Henry Lawson and knew them both, though he didn’t really know Patterson that well and couldn’t get past Lawson’s deafness. The rhymes are part of the vernacular of the day. This is the backstory of The Magic Pudding, however, and not of her characters, so I won’t explore it further here.

Happy ending

Where a young boy is forced to leave home due to the dreadful torment of his uncle’s whiskers, the best possible happy ending is for him to make his own home. In this case it is a home with a special pudding paddock on a branch just high enough to enable a certain Puddin’ to pull faces at pickle onions.

Like all great fantasy novels, The Magic Pudding anticipated the needs of fans in some very interesting ways. Fans can filk the songs, or cosplay the characters, for instance. Given I belong to foodie fandom, I, of course, want to find out what Albert the Puddin’ tastes like.

Assuming that making a sentient pudding is not wise, since it inevitably leads to the death of the creator, all the different flavours of Albert reflect standard recipes of the time. My source is the first cookbook printed in Australia (to the best of our knowledge) and there are three reasons for taking the recipe from it. First, I’m not breaching any copyright. Second, it’s the exact right age to reflect Norman Lindsay’s mother’s generation and the pudding she would have cooked (although there is a greater likelihood of her owning a copy of Mrs Beeton than this volume), which means it’s very likely to be the flavours Lindsay knew, and third, the book is suspect (at least some of it was plagiarised from earlier cookbooks) which exactly fits the scurrilous humour of The Magic Pudding. Just because a piece of writing is in our past, doesn’t make it respectable. Just because The Magic Pudding is witty and wonderful, doesn’t make it respectable, either. So, from Edward Abbott’s infamous cookbook English and Australian cookery book: cookery for the many, as well as for the upper ten thousand (the Pudding section, of course) here is a taste of Albert.

Beef-steak Pudding.—Take two pounds of rump-steak, and cut into seasonable pieces; and cut into shreds two or three onions. Paste the pudding-basin with good crust, not too rich nor too poor. Put the meat into the basin, with some pepper and salt, and a dozen oysters, with a little thickening, composed of mushroom ketchup, flour and water, and mustard. Simmer for an hour and a half, and serve in the basin; or turn it out, if the gravy in the pudding can he retained.

Connoisseurs prefer a beef-steak pudding to a beef-steak pie; and mutton, veal and ham, kidney, sausage, fowl, fish, and game puddings may be served in a similar way.

Yesterday and Tomorrow

by Gillian Polack

February 26, 2024February 26, 2024

When I need a break from the very bad news that wants to control my life and eat my brain, I watch old TV. The series I’m watching right now is the original The Tomorrow People. There is a reason for this. Not a very sensible reason. I’m not watching it because it’s primary fodder for my research (though if something comes up, I keep that something in mind): I’m watching it because it is the TV series that matched my age and interests when I was a teen. I needed to discover some parts of my past. Re-visiting the past is particularly useful when the present isn’t as easy as it could be.

Australia was a lot less USA-like in the 1970s, and The Tomorrow People is a classic science fiction show targeted at teens, and I was a classic SF tragic when I was a teen, and… let me get back to the beginning.

The Tomorrow People was shown from 1973 until 1979.

If I were to ask you to to take a wild guess as to when I began high school I hope that you would say ‘1973’ without hesitation. I was eleven-going-on-twelve. I was a science nerd and a history nerd but we had no words to describe that. The science didn’t need a term to help it fit into my life, because my mother was a science teacher. The history I had to argue for and persuade people that museums were worth visiting.

“You have half an hour” I was told when we went caravanning. Five minutes if it was a monument, half an hour if it was a museum. I found ways of spinning out that half hour. When I found a display of diamonds that had been found in streams (it was the goldfields, of course diamonds were found in streams, though in my case I found a few minuscule rubies and garnets, some gold and a vast amount of cassiterite) the whole family came in to investigate them. We understood rocks. All of us. Rocks and food. And, for me, baby clothes and irons from a century ago, and anything written or printed from before I was born and…

I’ve wanted to understand the whole world around me since I was about two. I was told “It will get boring” and it never has. A friend gave me an Australian cookbook from 1968 just this week, as an early birthday present (when things are difficult friends give early birthday presents, I suspect) and I cannot put it away until it has been thoroughly explored and my relationship with each and every recipe has been re-established… I knew this book when it first came out, you see. I was seven. I loved it then and, now, at 62, I have my own copy and life is suddenly so happy I needed to rewatch The Tomorrow People.

I am quite possibly, a failure, but I’m a failure who developed an early love of science fiction. SF and food are two of my happy places.

When I was heading for my teens, I read SF magazines from the US and watched a few TV series from the US but mostly, in the 70s, it was Doctor Who and Blake’s Seven and The Tomorrow People. For me it was, anyhow. The Tomorrow People was the one with children like me, who didn’t fit in. I couldn’t do telepathy, but I liked the TV series so very much that an aunt gave me Franklin’s ESP (a board game for incipient telepaths) for my birthday. I could try to be a Tomorrow Person. I could write stories about it. That need to write stories stuck, but my need to teleport did not.

My favourite actor on the series was Elizabeth Adare. I discovered today that this was because her acting style channels my inner teacher. I wanted to meet her. The actress, not the character. I probably still do. She was the right public person when I was the right age to pay attention. The series of The Tomorrow People where she was absent felt a little bereft. Why is this so? (A totally misplaced quote from an Australian science TV show, also from my childhood.) It’s because The Tomorrow People finished just when I left school and went to university. It lasted just the right amount of time. There was an adult woman on the television who was permitted to be intent and interesting and intelligent and when the actress was interviewed she was even more interesting and intelligent. We all need role models: I was very lucky to have that one at that precise and difficult time.

And now, if you’ll kindly excuse me, I have books to see and TV to meet.

Two types of hunger

by Gillian Polack

February 12, 2024

Way back when I did more things that were political and public, friends and I learned that it’s possible to get through life without hating, without accusations based on little or no evidence, and without destroying the lives of others. We learned, quite simply, how to learn before judging. We talked about folk dance and folk music (in fact, some of us danced and some of us sang), we learned much history to advance our understanding. I can still do some of the dancing (although these days it hurts, physically, which is ironic) and sing some of my favourite songs to myself (not to others beachhead really, I have no voice) and I still learn the history. What I’ve never stopped doing and what I can still do well is cooking. Hunger for food helps feed the equally-important hunger for understanding. Let me introduce you today, then, to four cookbooks that have served me well when I need to remember how complex and wonderful different cultures are and how there are many paths to avoiding hate.

The first book is Christiane Dabdoub Nasser’s Classic Palestinian Cuisine. A friend who is Palestinian Australian said I was missing her cultural background from my book collection, even though I was cooking food that was very similar to her own cuisine. She was right. I had not even begun to understand where her food and foodways were like mine. We talked a lot, and we ate each other’s cooking, which helped, but my library didn’t reflect this at all.

I couldn’t find a Palestinian Australian cookbook. Nasser’s was published in London, though, so it’s close enough for now. By ‘for now’ I mean I need more. One cookbook is not even close to a whole culture. The first cookbook is to open a window and to begin to see through that open window. I begin learning where I make non-rational judgements and where I lack knowledge and understanding, and then the recipes I cook help me break down my issues and to stop applying them to someone else’s culture. It helps me see people, and to stop hiding behind my own biases. It helps me look for what we share and to avoid hate.

I make a variant of Nasser’s potato with rosemary dish for Passover. It’s wonderful. Sadly, there are never leftovers. For dinner tonight, I’m choosing between two different eggplant (aubergine) salads. I’m hungry just thinking about it.

I chose the second book because I needed a cup of coffee. I’ve just finished my cup, and I feel almost awake. Given I’m writing on a hot summer’s day, this is a good thing. Antony Wild’s Coffee: A Dark History is not my favourite history of coffee volume. It was the first I saw when I looked at my shelves. It is, however appropriate for today.

We all carry a lot of half-understood history with us. All our foodstuffs and foodways have their own history and sometimes we know things and we think we know things and… it helps to find works that debunk and reconsider and don’t shy away from the less-good elements of the past.

The history of coffee walks hand-in-hand with empire-building and slavery if you want to focus on one side of its history. Coffee offers so much more than this, however, and I’d not use Wild’s book alone. Coffee helped European political blokes talk to each other through coffee houses from the seventeenth century. It changed the shape of discourse, in fact, in those countries. It shaped that discourse in part of the Middle East. Opening the door to coffee history is to open the door to understanding how even the history of a single type of bean carries with it cultural complexities and is worth understanding.

The last two books are, in my library, a pair. I use them a lot. They’re both by Claudia Roden. Roden does all the things I’ve talked about. She breaks food and foodways down into specific cultures: her volume The Book of Jewish Food is a masterpiece in this way. It doesn’t contain my foodways (there’s a story in that) but it’s given me a basic understanding of how Jewish food and foodways can be interpreted and understood in a wider sense. I can integrate this with my own historical knowledge (and it helps being an ethnohistorian, I admit) and I can talk Jewish food with most people. I have favourite Jewish foodways, and I explore them separately, but I always begin with Roden’s work.

The same thing applies to my learning about the different food and foodways of the Middle East. Her A Book of Middle Eastern Food is the book that began me on this wonderful journey, when I was a teenager. I owned my own copy from the moment I left home. My little paperback is from 1982. Without it, I would not have known enough to ask friends “What should I look for in a cookbook that takes into account your background.” I have hundreds of cookbooks now, but this was one of my first, and I still love it. My copy is battered and much used.

Each note Roden makes about this cuisine or that has sparked research at my end. I find more recipes, look into the culture that owns them, begin to understand the food customs and rules… and remind myself that doing this help me remember, every day, that respect and understanding trump hate. This means, of course, that I need another cookbook. It’s been a very difficult year so far for me as an Australian Jew. My obligation from that (according to the way I see the world) is to understand better other people who are also hurting. I shall watch for cookbooks and recipe websites. This is not the only way I try to understand, but it’s definitely the most fun.

The Joys of Infrastructure

by Nancy Jane Moore

November 10, 2023November 9, 2023

I just finished a wonderful book that explained what it would take for everyone on Earth to live the good life. It was all about infrastructure.

Don’t stop reading! Infrastructure is far from boring, I promise you, especially when the person explaining it to you is Deb Chachra, an engineering professor who both understands how things work and how to explain them. (I’ll just note right here that she has read some science fiction and philosophy along the way.)

The book is called How Infrastructure Works: Inside the Systems that Shape Our World. And no, it’s not a treatise on pipes or wiring or highway construction. It’s an overview of how all those things come together to make modern life possible.

Even if you’ve thought a lot about infrastructure — most of us only think about it when ours fails — this book will give you some deep insights into just how important it is and, even more importantly, how infrastructure design sets in place all our lives.

One of the first things I got from the book is that modern infrastructure is what makes our lives comfortable and possible in the United States and other highly developed countries. We have power at the flick of a switch, water when we turn on a tap, phone service (land lines even still exist, though most of us are using mobile phones these days). The wastewater gets taken away and treated.

Further, we have roads that go everywhere. In some places, we also have other transit options besides cars.

Most of us have access to good food even if we don’t live near where food is grown. That’s due to shipping systems, which also bring us other things we need.

That’s the point: all these things make modern life possible. We don’t have to dig our own wells or fetch water from the nearest creek (if there is one). We don’t have to cut up logs and feed them into a wood burning stove to cook and keep our homes warm. We can be in touch with people all around the world without leaving home or even waiting for the mail (and of course, mail is an infrastructure).

A couple of hundred years ago, people didn’t have most of these things. There were roads and there were shops and some supply systems, but they were not nearly as convenient as they are today.

Despite the fantasy of the “freedom” of living off the grid, the truth is that living in a system with modern infrastructure gives people a great deal more freedom to do something beyond just survival. Continue reading “The Joys of Infrastructure”…

Nicola Griffith’s Menewood

by Nancy Jane Moore

October 20, 2023October 19, 2023

I have been waiting to read Nicola Griffith’s Menewood since I finished Hild not long after it first came out in 2013. I grabbed Menewood as soon as my bookstore got it in this month and I read all 700+ pages (including notes) over about five days despite a long things-to-do list.

It was worth the wait. Not only that, reading it makes it clear that writing a book that is so deep and complex takes time. I’m not at all sure it could have been written any faster. It’s a sequel, and for that reason it works best if you read Hild first, but it isn’t like so many book series where each one is constructed in the same pattern.

The two books are historical fiction based on the very real St. Hilda of Whitby. Griffith has written a woman — and in fact, a number of women — with agency while still writing a book that is very much embedded in its times.

This is a book set in 7th century England which shows all the ways that women of that time mattered.

Two things in particular struck me while reading: the writing and some undercurrents about power.

First the writing. I should say that I read every sentence, every word — no rushing over paragraphs of description to get to the action as I am wont to do, especially when reading historical fiction or big fat fantasy. This book repays that kind of attention, because there is something important in all those words, something that advances the story.

Griffith wrote an essay recently on writing immersive historical fiction that makes clear how she approached this book. In that essay, she says:

As a writer, I bring the reader into my fictional world through the characters’ physical, embodied experience. What a character feels, what they notice of their world—and how they feel about it—tells the reader a vast amount, and it creates empathy.

She does exactly that. Pleasure, daily chores, injury, hard labor, death — all are vivid in this book.

But that physicality is woven in with the politics, the wars, and the work of making sure everyone was clothed and fed and housed in a time long before the industrial tools that made some of that labor easy.

And all of that is woven into what is known of the history, so that even though this is a fictional story, it does not swear at the things we know of the past. Continue reading “Nicola Griffith’s Menewood“…

Barbieheimer: The Sequel

by Nancy Jane Moore

August 18, 2023August 17, 2023

I took myself to see Barbie this week. When I first heard about the movie, I figured it was one I’d never see. There were many reasons for that:

I never had a Barbie doll. (I was too old for dolls by the time Barbie became a big thing.)
I hate pink.
Mattel is corporate America personified and they supported the movie.
I came of age with second wave feminism. We rejected Barbie along with Miss America.

There was only one argument for seeing it: Greta Gerwig.

I have to admit that was a pretty strong argument in favor, but I remained skeptical.

Then I saw Oppenheimer, which was so relentlessly about men that it flunked the Bechdel test.

Plus I read some reviews and essays that made me think Gerwig really had managed to do something good with the movie despite having Mattel’s approval.

So I went. I did not wear pink.

It was a fantastic movie. I thoroughly enjoyed myself.

And yes, it was feminist as all hell.

From the moment Barbie appeared onscreen amidst a group of girls playing with baby dolls, her appearance accompanied by the rousing fanfare of “Thus Spake Zarathustra,” I knew I was in good hands.

Continue reading “Barbieheimer: The Sequel”…

Reflections on Oppenheimer

by Nancy Jane Moore

August 11, 2023August 10, 2023

I grew up with the House Unamerican Activities Committee hearings, the Cold War, and the Doomsday Clock ticking toward midnight because of the bomb, which is why I decided I should see Oppenheimer.

I don’t always see movies based on recent history that I know well, because reviews and other information often give me a clue that the history is wildly inaccurate. For example, I have never seen Mississippi Burning, because I am damned sure that no FBI agent was ever a hero of the Civil Rights Movement.

While there was a lot of history related to the story that Oppenheimer left out, the stories it did tell were generally accurate, as far as my knowledge goes. And it certainly worked well as a movie; I was caught up in it from the beginning. I suspect a lot of its success is rooted in the acting of Cillian Murphy as Oppenheimer.

I am glad I saw it, but my thoughts about it have more to do with how it reflected both the current times and the times of the story. Note that there are probably spoilers in here; I see no reason to avoid spoilers in the case of stories where everyone knows, or should know, what happened. There are no twists in this movie.

Oppenheimer is a movie about men. I would argue that the bomb, and even the Manhattan Project itself, is, for purposes of the movie, a McGuffin. It’s not what the men in this movie are doing that matters; it’s how they deal with each other.

On Facebook, I said this movie didn’t even come close to passing the Bechdel Test, which generated a lively discussion. While at least one person speculated the problem was a dearth of women working on the Manhattan Project, a Washington Post article this week points out that 11 percent of the staff were women, and many of those women were scientists. (free link.)

And I am sure that during Oppenheimer’s years in Berkeley he ran in circles that included more women than the ones he slept with.

It would have been possible to make a movie that included more women in significant roles, women who did in fact talk to each other, if the filmmakers had wanted to.

One of my Facebook friends opined that director Christopher Nolan is concerned with “Masculinity” (definitely with the capital M), which I think explains this movie very well. It may also explain why I found it very watchable even as I noted the absence of women and, for that matter, the absence of men who were not essentially European in heritage.

(Some of the men were Jewish, including Oppenheimer, and that is of course very relevant to a story from that particular point in history.)

That is, I looked at it as an analysis of how men in a patriarchal society behave toward other men. That aspect of masculinity did not come off particularly well.

I don’t know if that’s the movie Nolan intended to make, but that’s the one I saw. Continue reading “Reflections on Oppenheimer“…

A Potpourri of Book Reviews

by Deborah J. Ross

June 28, 2023June 28, 2023

Here are a few books I’ve read recently. Some I’ve enjoyed more than others. I’ll start with a rave:

Daughter of Redwinter, by Ed McDonald (Tor) What a great read! From the first page, this book grabbed me and carried me along. Superb action, wonderful characters, ever-escalating stakes, and mystery. The story opens with Raine, our heroine, creeping out the back way from a monastery under military siege, looking for an escape route, only to encounter a mysterious wounded woman who is desperate to get back in. On the woman’s heels are a group of warrior-magicians, bent on stopping her even if it means tearing down the walls. The military besiegers are willing to aid the magicians, but what they’re after is inside — people with “grave-sight” that allows them to see, and sometimes speak with, the dead. Raine is one of those with the talent that means execution, should it be discovered. All her life she has hidden, lied, and run away to save her skin, and she’s made some spectacularly bad choices along the way.

The book was full of drama and poignant emotion, hard-bitten action and sweet romance. The balance between slowly unfolding mystery, lightning reversals and betrayals, and coming of age of a most remarkable heroine was exceptionally well handled. Most of all, from the very first paragraphs, I found myself relaxing into the hands of a master storyteller, confident that wherever the tale took me, it would be a wild and infinitely satisfying ride. I was never disappointed.

Rosebud, by Paul Cornell (Tordotcom) “The crew of the Rosebud are, currently, and by force of law, a balloon, a goth with a swagger stick, some sort of science aristocrat possibly, a ball of hands, and a swarm of insects.” Although they’re not human, at least not in their current form, they’re most definitely people. And they’re fanatically devoted to The Company, which for 300 years has placed them out in the back acres of space. When they come upon a mysterious black sphere, they arrive at a plan, after much squabbling: to capture the object for the Company, thereby earning lots of praise.

But the object is not what anyone might expect; it has the ability manipulate probability and time-lines, thereby controlling the crew of the Rosebud by selecting the futures with the most benign outcomes. As the crew attempts to understand what’s happening to them, their own pasts are revealed, as well as the less-than-benign nature of the Company.

I loved how the crew figures out that their memories are unreliable and what the object doing. In the end, however, I found the “universe-changing” revelations opaque. I wanted to like and understand the story, but ended up just not getting it, which is never a good feeling to leave a reader with.

Dark Earth, by Rebecca Stott (Random House). I requested this book from Netgalley based on the description. I loved the idea of an underworld of rebel women living secretly amid the ruins. Alas, the opening was so sedate and the characters so bland and unrelatable, I gave up in the middle of the second chapter. There simply wasn’t enough to keep me reading. By contrast, the next book I picked up grabbed me right away, so I saw no reason to take another look.

The Hundred Loves of Juliet, by Evelyn Skye (Del Rey) What a great premise — Romeo and Juliet, reincarnated many times over the centuries, always drawn together and always linked in tragedy. In an added twist, Romeo is immortal and remembers all his previous loves. He knows, for example, that whoever Juliet is in any given lifetime, she will die within two years. Juliet, on the other hand, has no idea of their history together. Now in the 21^st Century, writer “Juliette” and sea captain “Romeo” find themselves thrown together by fate and consuming attraction. Can they break the cycle?

Well, maybe, if he would just sit down with her and have a candid conversation. Clearly, he’s failed to do that before, only to watch his beloved-of-this-century die, usually horribly. You would think he’d learn from his disasters. Of all the failings of a typical romance novel, the stupidity of keeping secrets ranks top of my list. Even if “Juliet” thinks he’s delusional and doesn’t believe him, at least he would have given her a rationale for him walking away from her. Which he tries to do, but because she has no idea why, it doesn’t work.

I had other quibbles, including the passages supposedly diaries and so forth from past centuries but laden with contemporary sensibilities, that the heroine tries way too hard to be likeable, that the hero is an example of “female-gaze” and not a real person. Although the prose is for the most part pretty good, it slips into tone deafness all too often.

I suspect that this is a romance with fantastic elements, rather than a reincarnation/time-travel fantasy with a love story, and that science fiction/fantasy readers like myself will have a much harder time with it than romance readers. Regardless, I gave up around the 24% mark. I simply didn’t care what happened next as long as the characters were being so dishonest with each other and themselves.

Blood of the Pack (Dark Ink Tattoo Book One), by Cassie Alexander (Caskara Press). My introduction to the works of Cassie Alexander was the “Nightshifted” series (in which a nurse discovers a new career path in a secret hospital ward for supernatural patients). I loved how she handled nonhuman characters, great dramatic tension, and smooth prose. So I picked up this first book in a new series without knowing much about it beyond the lots-of-queer sex content warnings. I found many of the elements I’d previously enjoyed, including characterization and great action sequences. The sex scenes were better done than usual for “high heat” stories. There was a nice balance in tension between a satisfying landing level for the first novel in a series on the one hand, and enough of a cliff-hanger so the reader will be left hungry for the next. My personal quibble, and other readers may feel quite differently, was that the sex scenes took up a disproportionate amount of space for what they contributed to the plot. I think this has to do with what different readers look for. If it’s a (in this case) action-mystery with sex scenes that enhance that plot, or if it’s very juicy sex scenes that make sense in terms of character and motivation. As I said, the scenes are very well done, great examples of how to write literate, well-paced intimate encounters. I especially liked the depiction of consent, the mutuality of pleasure, and the care of the partners for one another.

And of course, if that sex comes with vampire and werewolves, oh my, so much the better.

And I’ll end with more raves…

Drunk on All Your Strange New Words, by Eddie Robson (Tordotcom). I loved this fresh and wonderful take on human-alien cultural clashes! This alien race, the Logi, are approximately humanoid in appearance and possess valuable technology. They’re fascinated by human culture, especially the arts and printed books. The catch is that they communicate telepathically through specially trained “Thought Language” translators. One such is our heroine, Lydia, from a poor British background. She loves her work, the only thing she’s ever been really good at, not to mention her generous salary and her sensitive, thoughtful boss, the Logi cultural attaché. All this makes it worth feeling drunk from translating between Thought Language and English. It all goes to hell when her boss is murdered and she’s the prime suspect. Both her freedom and her ability to solve the mystery depend on her remaining at the Embassy, and the Logi is charge has never liked her.

Drunk on All Your Strange New Words combines alien contact science fiction, a sympathetic heroine, weird maybe-supernatural stuff, and a highly complex mystery filled with surprises and reversals. I found Lydia, with all her insecurities, bravura, and gullibility, deeply sympathetic. I fell for the same deceptions and cheered her on as the pieces of the puzzle fell into place. This is a smart science fictional mystery and a wonderful take on how even truly weird aliens and humans can find understanding and common ground. Best of all, a deeply flawed character prevails at the end.

Three Miles Down, by Harry Turtledove (Tor). At the height of the Cold War and on the brink of the 1974 Watergate scandal, the US discovers a sunken Soviet submarine…and something they didn’t expect. Something they want to keep even more secret. Under the guise of harvesting undersea manganese nodules, they recruit a team of experts, including marine biology grad student and aspiring science fiction author, Jerry Stieglitz. After being sworn to secrecy, Jerry learns the secret-inside-the-secret: the Soviet sub is sitting on top of an alien spaceship. They want Jerry not only to bolster their disguise when Soviet warships come to check them out but to use his writerly imagination in interacting with the ship and its inhabitants, both dead and in suspended animation. His insight (derived from the scene at the doors of Moria, “speak friend and enter”) opens the door to the ship, for example. Of course, all does not go swimmingly. These are the days of anticommunist paranoia, an increasingly embattled POTUS, and paranoid intelligence agencies. The stakes for Jerry are not just being kicked off a lucrative and historic mission, but survival itself.

Turtledove is a terrific writer, combining sfnal First Contact elements, humor, the unfolding domestic political drama, and human interactions, whether it’s Jerry’s friendships with the others on his alien-spaceship team or his difficulties with his fiancée when he goes missing for months. All this is highly enjoyable, fast reading, but what I found most delightful were the many homage-to-science-fiction touches, like a love letter to fans. There’s even a guest appearance by a well-known hard science fiction author (I won’t divulge who!) that had me laughing out loud at how brilliant the portrayal was. (I’d met the guest-appearance author and yet, that’s exactly what they’d say!)

The Assassins of Thasalon, by Lois McMaster Bujold (Subterranean). I first fell in love with…isn’t that the best way to begin a book review? In the case of Lois McMaster Bujold, the love affair goes back to Ethan of Athos (1986) and Falling Free (1988) Once Miles Vorkosigian burst upon the scene, I was thoroughly hooked. The Curst of Chalion, the first novel set in the World of Five Gods, saved me one convention (I think it was a WorldCon) when I ended up with a concussion from getting slammed in the head by a heavy glass door. I stayed an extra night, reading and re-reading, marveling at the layers of richness. But I digress: Chalion was followed by the equally awesome Paladin of Souls, then The Hallowed Hunt, and—about 100 years earlier in chronology—the Penric and Desdemona novellas. I gobbled them all up, although Chalion retains a special, perhaps concussion-inspired, place in my heart.

Penric is this world’s version of a healer/cleric, both aspects being supernaturally inspired by his god, the Bastard, and the many-generations-old temple demon, Desdemona, who shares his mind and, occasionally, his body. Through her, he can tap into magical powers as well as the experience and memories of her former hosts. “Demon” has a different connotation here than the one typically used. While she is definitely a non-material being, she was born of chaos and has been shaped into a person by her relationships with her human hosts. She’s also sly and sarcastic, although she would never admit to being loving.

Which brings us to the latest adventure, novel-length instead of the previous novellas. The set-up is framed as a mystery: who is trying to assassinate Penric’s brother-in-law, the exiled, brilliant general? In the process of tracking down the attempted murder and preventing further attacks, Pen and Desdemona uncover a plot that goes right to the heart of what makes a person, and what part does the right use of power (or the atrocities of its misuse) play? In too many fantasy stories, characters lack family ties, or they have them, the families are off-stage and forgotten. Not so in this series. Penric lives in a matrix of people he loved and who love him, sometimes as vividly present when he is hundreds of miles away as when they’re in the same scene.

Bujold is such a skillful writer, her work is a joy to read. I’m hooked on the first page, wanting to read faster to find out what happens next and yet wanting to read slowly to savor all the nuances. She plays fair with giving the reader all the necessary information, but she doesn’t berate, lecture, or inflict long explanations. Beneath the mystery-plot, there are layers and layers of story-gold. Although I rejoiced at the novel length, the end still came too soon.

Like the previous Penric and Desdemona stories, this one can be read as a stand-alone, although the references to previous happenings and off-stage characters would be enhanced by having read the adventures that involve them. On the other hand, as an entry drug, it’s a grand excuse to sample this world and its people, and then run off and delve into what has come before.

Highly recommended.