.

.

Wednesday, 8 July 2020

Disneyland's Tomorrowland '98

Welcome to Tomorrowland. Photo: Cory Gross.

The problem with the future is that it keeps happening. As it was originally conceived by Walt Disney, Tomorrowland was to be a permanent World's Exposition nestled into his Magic Kingdom. Set in the faraway year of 1986, guests could learn about advancements in science and technology in an entertaining format from America's industrial giants. But the future keeps happening and Tomorrowland kept falling further and further out of date. When it first opened in 1955, Autopia tapped into the emergent culture of the automobile in post-war America. Today, its far from futuristic gasoline-powered cars are only maintained as an artifact of nostalgia. In 1986, the science-focused Adventure Thru Inner Space was outright replaced with Star Tours, a Star Wars-themed attraction. This shift towards overt science fiction franchising was complemented with another George Lucas-produced attraction titled Captain EO, starring Michael Jackson.

To overcome this problem in Disneyland Paris, Imagineers invested fully in a Retro-Futuristic theme pulled from Jules Verne. It featured a walkthrough attraction based on the Nautilus from 20,000 Leagues Under the Sea, a version of Space Mountain based on From the Earth to the Moon, and a brass and copper Victorian World's Exposition aesthetic. This worked so well at the time that it furnished inspiration for another Retro-Futuristic remodel in Walt Disney World. Rather than a Vernian theme, the Magic Kingdom's "New Tomorrowland" was made to evoke a galactic spaceport out of Buck Rogers and Flash Gordon. Twice successful, Imagineering turned their attention to the original Tomorrowland in Anaheim.

And then something went wrong.

Few attempts to reinvigorate the original Disneyland in Anaheim, California, have been as universally condemned as the 1998 remodel of Tomorrowland. This would-be Retro-Futuristic masterpiece was hampered by budget constraints and poor management, resulting in controversial choices and broken down rides that spelled doom not only for the remodel, but for the integrity of  Tomorrowland as a whole. Nevertheless, despite universal condemnation, there was still much to recommend about Tomorrowland '98, at least in theory if not execution.

Photo: Jeff Keller.

Wednesday, 1 July 2020

Collodi's The Adventures of Pinocchio

By 1881, the Italian author Carlo Collodi had already achieved renown as a translator of fairy tales when friends piqued his interest in writing his own. A short story about a little wooden puppet come to life was published in the children’s section of a Roman newspaper, which evolved into the serialized Adventures of Pinocchio. The first 15 episodes ran through 1881 and 1882 before Collodi was invited to write an additional 21 chapters for publication in a book in 1883.

In the original serialized form, Pinocchio is an outright brat whose short life ends with being hanged until dead at the conclusion of chapter 15. Collodi dispenses with trying to explain how Pinocchio is alive. Much like ourselves, he merely is and the rest must suffer the consequences. Among his miscreant acts is to flee from Geppetto the moment he is given legs, squish the Talking Cricket that tries to moralize at him, sell off the A-B-C book that Geppetto bought for him (by trading off his only coat) in exchange for tickets to the Marionette Theater, and finally to run afoul of the Fox and the Cat, who are ultimately responsible for his assassination. Pinocchio's was a hard life poorly spent and easily lost.


Wednesday, 24 June 2020

Disney's Atlantis: The Lost Empire and its Sources

It was very appropriate, and most likely unknowingly so, that Disney set 2001's Atlantis: The Lost Empire, in 1914. Indeed, in many ways it could not truly have been otherwise: the middle Victorian era saw the beginning of an explosion of interest in the lost continent that would not subside beneath the waves again until the 1960's. In the decade spanning 1895 to 1905, there were no less than 16 fiction novels, standing alongside countless ostensibly non-fiction pseudoscientific and spiritualist explorations, which solidified the Atlantis we know today: not as a holdover of ancient myth, but as an artifact of Victorian cultural anxieties.

Trailer for Atlantis: The Lost Empire (2001)


Wednesday, 17 June 2020

Florence McLandburgh's The Automaton Ear

"Seeing is believing." Taken broadly, that old axiom articulates the virtues and limitations of empiricism. The "sight" is the information that can be gleaned through the use of the physical senses of sight, smell, touch, taste, and hearing. A functional empiricism underlies two of the most important ventures in democratic society: science and justice.

In justice, it is the requirements of physical evidence and reliable, corroborated witnesses. It is also implicit to the principles of legal impartiality, presumption of innocence, and trial by jury, which together signify the importance of sufficient evidence adjudicated objectively. Looked at this way, it is easy to see how the concept of "social justice" is increasingly antithetical to actual justice... Under "social justice," guilt is presumed on the basis of assigned group identity (which is itself guilty of collective group crimes) and emotion supplants evidence in the court of public opinion.

In science, only what can be observed about the physical universe is what can be taken as valid information about it. Of course there are more ways than science to perceive insights about the experience of existence - such as aesthetics, ethics, and religion - but science deals with a particularly narrow subject matter, being the physical universe. Many of the same processes are at work in science as in the processes of justice. Physical evidence is an obvious requirement, as are multiple independent researchers to corroborate findings. The trial by jury becomes the peer reviewed scientific journal, where findings must first pass the editorial board whereupon they are published for the rigorous dispute of the scientific community. At all points, objectivity is desired and the transparency of the Scientific Method encourages multiple researchers to check up on each other's work.

To carry on its experiments, science has produced ever more elaborate tools to increase the scope of the physical senses. What is the telescope, after all, but a giant eye that allows one to see further (and in more spectra) than the normal, unaided eye? The connection between time and space creates the mind-rattling conundrum that what we see through a telescope is not what is happening right now, but rather, is a glimpse into the past. All those beautiful images brought to us by the Hubble Space Telescope are actually images of things that happened millions, even billions, of years ago... However long it took the light from those nebulae to reach us here on Earth. Where our telescopes read a barren rocky exoplanet 500 million light years away, it may, at this very moment, be teeming with its own brand of dinosaur that we won't see for another half-a-billion years.

Now what if we could do that for sound?

In a sense we already do. The first thing an alien civilization is going to hear from us are the first  radio broadcasts from a century ago. This was illustrated dramatically in the beginning of the 1997 film Contact. Florence McLandburgh wondered this same question quite early on in the history of Scientific Romances. Her 1873 short story The Automaton Ear sticks closer to home in its depiction of a scientist who builds an elaborate ear trumpet designed to amplify the faint vibrations of terrestrial events millennia ago.

However, despite this entire preamble, the subject of The Automaton Ear is not the device itself nor its cultural and scientific ramifications. Instead, it is a character study of scientific monomania. It is the autobiography of a mad scientist.

Most Victorian-Edwardian Scientific Romances begin with an outside observer being inducted into the mysteries of the scientist or explorer. The archetype is Professor Arronax, Conseil, and Ned Land being taken aboard Captain Nemo's submarine. Passepartout was the entry point into Phileas Fogg's trip around the world, and Ned Malone was the entry point into Professor Challenger's lost world. The scientist or explorer is almost always the Other who dominates the story told by a narrator. Only in a handful of rare circumstances, like H.G. Wells' The Time Machine, is the scientist themselves the narrator.

I would imagine that, in most cases, this literary device exists to build a sense of intrigue as the mystery of the scientist and their invention unfolds. More likely than not, there is also an underpinning of writers recognizing that it is easier to write about a genius than to pretend to be one. The greatest flaw that writers of geniuses fall into is sub-genius characterizations who tend to come off as undeservedly egotistical Mary Sues.  It's difficult to pass off a character as the most brilliant poet or scientist or whatever, if the writer is clearly not. 

McLandburgh bypasses this problem by setting out to examine the deleterious effects of monomania on her inventors' mind. It is less about the ways and means of the invention itself than on the obsession that drives him to madness.

The Automaton Ear was first published in Scribner's Monthly in May 1873, then again in Florence McLandburgh's only published book, The Automaton Ear and Other Sketches, in 1876.  It appears here as it did in Scribner's. Click on the image, and then right-click and tap "Open image in new tab," to see a larger version.


Wednesday, 10 June 2020

The League of Extraordinary Gentlemen

In 2019, legendary comic writer Alan Moore and artist Kevin O'Neill completed the two decade long odyssey of The League of Extraordinary Gentlemen. Over 20 years, the sassy Brits brought new and enduring attention to the genre of Retro-Victorian Science Fiction through an encyclopedic pastiche of European fiction. Main plots tied together such diverse works as Twenty Thousand Leagues Under the Sea, King Solomon's Mines and Allan Quatermain, Dracula, War of the Worlds, The Invisible Man, The Island of Doctor Moreau, The Insidious Dr. Fu-Manchu, Princess of Mars, Gulliver's Travels, The Time Machine, The Dream-Quest of Unknown Kadath, Orlando: A Biography, 1984, Doctor Who, The Avengers (the British television series), Mary Poppins, Creature from the Black Lagoon, The Lost World, Carnacki the Ghost-Finder, Metropolis, The Cabinet of Dr. Caligari, the stories of Sherlock Holmes and Harry Potter, and The Tempest. Something of a literary arms race developed between Moore and scholar Jess Nevins, who maintained an online set of annotations listing the references replete in virtually every panel. Sometimes high and sometimes low, League of Extraordinary Gentlemen was a paean to the wonder of imagination and the glories of literature.



The epic began in 1999 with the publication of League of Extraordinary Gentlemen, Volume I. The six-issue series by America's Best Comics (an Alan Moore vanity label published by Wildstorm Comics, which was itself a subsidiary of DC Comics) was one of the highlights in the explosion of Retro-Victorian Science Fiction around the turn of the 21st century. That same year, Wild Wild West and Disney's Tarzan both entered movie theatres. They were preceded and followed by Back to the Future Part III (1990), The City of Lost Children (1995), Atlantis: The Lost Empire (2001), and Treasure Planet (2002), The Difference Engine (1990), Dinotopia: A Land Apart from Time (1992) and its sequel Dinotopia: The World Beneath (1995), Disneyland Paris' Discoveryland and Tokyo Disneysea's Mysterious Island, The Secret Adventures of Jules Verne (2000) and The Adventures of Brisco County Jr. (1993), and the Sakura Wars video game franchise. It was an embarrassment of riches unmatched since, and I credit League of Extraordinary Gentlemen specifically with catalyzing my then-diffuse interest in the genre that has since consumed my life.


Wednesday, 3 June 2020

The British Empire According to Players Cigarettes

The following series of 50 cigarette cards produced by the Imperial Tobacco Co. of Great Britain for Players Cigarettes purports to show interesting scenes from across the vast expanse of the British Empire. It is a fascinating glimpse not only into the cultures that made up the empire upon which the sun never set, but also into how British imperialism was celebrated. 

In modern times is difficult to understand, and rightly so, the mindset in which imperialism was considered a source of pride rather than shame. People in the west today often shy away from words denoting any kind of excess of nationalism or patriotism, perceiving them as racist affronts to multicultural values, let alone holding a belief that for their culture to dominate and exploit others was a manifestly good thing. Yet empires from Babylon to Rome to Britain have arguably been history's dominant vehicle of cross-cultural exchange. The movement of goods and peoples across a unified political body exposed the average person in them to a variety of cultures, foods, religions, arts, and ways of life. This is not to excuse or deny the horrors of imperialist regimes, but simply to recognize that empires are complicated entities. 

There is a more interesting question implicit to the sort of exercise in imperialism that these cards represent. It would be easy to dismiss them as artefacts of a disgusting episode in recent human history... It is more challenging to ask of the extent to which modern ideas of multiculturalism are themselves a colonialist, imperialist project.

These cards are from the amazing Digital Collections of the New York Public Library. Click on a card for a larger view.



Wednesday, 27 May 2020

Edwardian Fashion of the Space Age

According to the philosopher behind the Biblical book of Ecclesiastes, there is nothing new under the sun. Innumerable are the Internet commentators ready to point out there is nothing original, but rather, only those things that have been forgotten long enough to be recycled. Yes, nearly everything has been done before, and usually better. That includes retro Victorian-Edwardian fashion.



Wednesday, 20 May 2020

Edward Bulwer-Lytton's The Coming Race

To be pitied is the writer whose satire of Utopian fantasies is mistaken for the actual thing. Even more to be pitied are the people who take his Utopian vision and make it a key belief in their esoteric religion. Such is the case of Edward Bulwer-Lytton, whose 1871 novel The Coming Race was not only one of the most popular novels of the 19th century but whose story of a technologically-superior subterranean civilization inspired theosophists and Nazi occultists. 

It wasn't for any lack of trying on Bulwer-Lytton's part. In a friendly letter he explicitly wrote "I don't think people have caught or are likely to catch the leading idea of the book, which is this: - Assuming that all the ideas of philosophical reformers could be united and practically realised, the result would be firstly, a race that must be fatal to ourselves; our society could not amalgamate with it; it would be deadly to us, not from its vices but from its virtues. Secondly, the realisation of these ideas would produce a society which we should find extremely dull, and in which the current equality would prohibit all greatness."  Nevertheless, his underground civilization of Vril-ya captured imaginations in the 19th century with its possibilities. Those who wished for a mere interesting Scientific Romance were rewarded, as were those "philosophical reformers" who considered that incompatibility with modern society as a good thing. Then there were those who took things a little too far.

Illustration from The Coming Race depicting the
underground society and its winged citizens, the Vril-ya.

Wednesday, 13 May 2020

Lillie Devereux Blake's A Divided Republic

There are a handful of good reasons to read the utopian ideals of the past. One might simply be the aesthetics of Victorian retro-futurism, seeing how people of the 19th century actually did envision the things we take for granted today: our televisions, computers, the Internet, mass transit, and so forth. Sometimes it is to play a little game of what they got right and what they got wrong. But deeper than that, they are an opportunity to understand the "interior world" of different philosophies and worldviews... To understand not only their ambitions for people and society, but what they think of people and society in general. Nested into utopian fantasies are theses on human nature, human failing, and human interaction.

It is one thing to analyze failed Victorian worldviews through Victorian fiction... It is another to analyze worldviews that are still carried with us today, worldviews which never left or which get perennially resurrected. This is even more pertinent when the worldview is not simply a failed worldview of the past, but a worldview that is currently failing us today. And that is what brings us to Lillie Devereux Blake's A Divided Republic

Published in two parts in the February and March 1887 issues of The Phrenological Journal and Science of Health magazine (which is interesting enough in itself) and eventually reprinted in her 1892 anthology A Daring Experiment and Other Stories, A Divided Republic argues for women's suffrage by proposing that women simply up and leave. En masse, the ladyfolk of the Eastern United States migrate to the territories of Washington, Oregon, Idaho, and Montana. In return, the men from those territories are shipped back East. Left to their own devices, male society rapidly deteriorates until they literally beg to get the women back. 

At the root of Blake's thought experiment is the idea of what we would today recognize as "identity politics." This philosophy, which has regained considerable traction in the last decade, fundamentally rejects the idea of individual personhood and dignity. In its place, identity politics holds as axiomatic truth that individuals are reducible to actors on behalf of identity collectives. As actors for identity collectives, individuals work to reinforce structures that maintain power for the collective. In this worldview, there is no such concept of human rights because there is no such concept as human beings. Rather, identity collectives are conceived of having or lacking "privileges" which are exercised by the collective as a collective. 

Though self-evidently wrong, more serious and considered forms of identity politics manage to focus on identity collectives that may actually give shape to behaviour, like religion and philosophy, political affiliation, or nationality. Less well-considered forms will at least base identity on tangible assets like economic class or ethnicity. The worst and most self-evidently false forms of identity politics focus on crude physical attributes, namely race, gender, and sexuality. These physical attributes are believed to form coherent blocks of political interest, usually in dialectic opposition to collectives with other attributes, i.e.: Men vs. Other (Women, Trans, Nonbinary), White vs. Other ("People of Colour"), Straight vs. Other (LGBTQ2+AA), Cis vs. Other (Trans, Nonbinary, etc.).

In what way are they self-evidently wrong? For the simple fact that people are individuals and never, in the entire history of humankind, have skin colour, genitals, or where people stick those genitals ever formed a coherent block of political interest. For the approximately 8,000 years that "white people" have existed, they have always been divided by ethnicity, nationality, economic class, political affiliation, philosophy, and religion, not to mention the naked interests of personal self-preservation. In the entire 19th century, there were approximately 7 years, added together, where there wasn't being a war being fought somewhere in Europe. Mark Twain once quipped that no one has spilled more French blood than other Frenchmen. For thousands of years prior to the arrival of Europeans to the shores of Africa or the Americas, Indigenous people fought with each other. Many of those resumed in terrifying ethnic conflicts after Europeans pulled out, such as the Rwandan Genocide. The Spanish were only able to conquer the Aztecs because they were assisted by other Indigenous nations who were sick of the Aztecs' bullshit. The evil of the Trans-Atlantic slave trade would have been impossible without the crucial first step of African peoples being captured and sold by other Africans. In the United States, slavery was abolished after 1.8 million "white people" fought a civil war against 750,000 other "white people." The term "People of Colour" is especially bizarre, as though Zulu and Japanese and Pakistani and Apache are all the same thing. These truths are so self-evident that even proponents of identity politics themselves realize it, inventing concepts like intersectionality theory. By admitting that people are shaped by a nearly infinite variety of intersecting identity vectors, it becomes apparent that the ultimate end of intersectionality theory is individualism. Everyone is different, and the only way to deal with individual people is as individuals. Intersectionality theory is a tacit admission that identity politics doesn't work as a model of reality. Identity politics is racism rebranded as "social justice," and the only antidote to racism is individualism, not more racism.

That "white people" and "People of Colour" and men and women and gay people and straight people and cis people and trans people fall everywhere across the political, religious, ethnic, national, and economic spectrum is distinctly highlighted by a story like A Divided Republic. Blake's story hinges first on the notion that women, as an identity collective, would just all agree to leave as one united body of coherent political interest. That simply would not happen. Gender does not form coherent blocks of political interest, especially where it would come to completely abandoning husbands, fathers, children, and alcohol. According to a 2013 survey, only 23% of American women identified as feminists (with 8% identifying as anti-feminists), even though 82% believe in equality of the sexes. One of the most shocking outcomes of the 2016 US election is that 42% of women voted for Donald Trump, which rises to 62% for "white" women without a college education.

Blake goes on to portray life in the respective republics. The male republic is, of course, every crude stereotype of men. It is a brutish, careless, reckless, vice-riddled society deprived of its civilizing members. By contrast, the female republic's greatest problem is boredom. A society composed entirely of women would be far too civilized... Without a need for police, courts, and jails (and saloons), the female republic could turn its attention fully to the moral, physical, and intellectual perfection of its members. The type of culture described briefly by Blake was given a fuller treatment in Charlotte Perkins Gilman's 1915 novel Herland, where it was also granted more of a critique (albeit possibly unintentionally). Perfection is dull and eventually the women are excited to hear that the men are willing to make every concession just to get the women back. It would be unthinkable that women might have conflict between themselves, because that would imply that women are individuals with their own personalities, ambitions, and problems apart of the interests of the collective. It was also unthinkable that amidst architecture, engineering, and mountaineering, one of the things they might also pick up now that there are no men to stop them is alcohol. 

A Divided Republic is a short story... this critique is almost as long as the story itself... so one cannot reasonably expect Blake to give more nuanced portrayals of the benefits and challenges of her two republics. Yet when forced by brevity to distill her idea down to its most basic form, it is this: the essential characteristic of women as an identity collective is morality and the essential characteristic of men as an identity collective is barbarism, and therefore men need women to civilize them, and therefore men owe women the vote and the veto over men's lives. The idea that women are inherently more moral, more pure, more honest, and more civilized still permeates identity politics to this day, along with the patronizing idea that women are also weaker, more naive, more vulnerable, and less capable of managing their own affairs, thus requiring the paternalistic involvement of the State in every aspect of their lives in order to keep them safe. What they need to be kept safe from, of course, is men, who should apparently be packed with a WHMIS label. 

Of course women were rightly entitled to the vote and to full legal equality. But that entitlement was not owed on the grounds that women as an identity collective are just better than men. They were rightly entitled to it because they are human beings, fellow individuals who are no better and no worse than men. Unfortunately, despite a brief flirtation with a properly ordered idea of social justice rooted in individual dignity -  "I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character." - the kind of identity politics expressed in A Divided Republic have taken hold again.

Without further ado, A Divided Republic by Lillie Devereux Blake, as it appeared in The Phrenological Journal... 
  

Wednesday, 6 May 2020

Clement Fezandié's Through the Earth, Parts III and IV

The bold experiment of drilling a tunnel through the earth complete, parts III and IV of Clement Fezandié's Through the Earth follow young William Swindon's experiences as he makes the perilous first voyage. In a footnote, the author assures us that his text has been double-checked for accuracy by a professor of Applied Mechanics, and what he describes is a fairly accurate impression of artificial weightlessness created through extended freefall. It's much the same process used by NASA to train astronauts, though in the real-world case it is induced by plummeting a special airplane into freefall. It is also how space shuttles and other bodies achieve orbit. Technically they are constantly falling towards the earth, but the earth curves away beneath them before they can land. 

These chapters appear as they originally did in the March and April 1898 editions of St. Nicholas Magazine, with illustrations of William A. Mackay. After the serial completed, Fezandié and St. Nicholas Magazine's parent company, The Century Co., republished it as a book with some additional chapters of background and incident. 



Wednesday, 29 April 2020

Clement Fezandié's Through the Earth, Parts I and II

What would be the most efficient way to pass from one side of the earth to the other? That's the old trick of the two dimensional map: you'd think it would be a straight line, but on a globe that translates into the curved line of airline flight paths. In the 19th century, there was no expedient way to circumnavigate the globe. Jules Verne showed that it could theoretically be done in 80 days, but the average traveler would be spending many more months at it. 

But what if you could just go through the earth?  

That is the question being broached by Clement Fezandié in this four-part serial that was published in the January-April 1898 volumes of St. Nicholas Magazine. The first two parts, presented here as they originally appeared, with illustrations by William A. Mackay (more famous for his role in developing ship camouflage for the US Navy), focus on the theory and construction of a tube from New York to Australia through the earth's core, and how people and freight may be moved along such a hazardous route.

Click on each page to see a larger version, and join us again next week for parts III and IV! 


Wednesday, 22 April 2020

Free Book Offer - Death of a Bounty Hunter - A Supernatural Steampunk Western

"I’m in this story, but it’s not about me. It’s about a bounty hunter who comes face-to-face with something we all do: guilt and shame, and the desire to run from them. Not because we're cowards, but because sometimes we just can't stomach ourselves. The Gatling guns, the Occult, the paranormal, and even the demon spawn—all those things are just along for the ride."

From the authors of the Amazon Top Selling time travel novel Timeslingers comes, Death of a Bounty Hunter. Blending paranormal, steampunk, and western genres, Death of a Bounty Hunter creates something altogether different.



To celebrate their new release, Jay Sherer and Nathan Scheck are offering the Kindle e-book version of Death of a Bounty Hunter for free on the next four consecutive Fridays (or discounted to $0.99 every other day). All they’re asking for in exchange for a complimentary copy of the novel is an Amazon review. No obligation, but that’s what they’re hoping you would do after reading it! 

From the Authors:
As Pinkerton Agent Geraldine Abernathy might say, “We live in strange times.” And due to the stay-at-home orders that most of us still face, Nathan and I felt like it was time to give you something to show that we’re all in this together. 
That’s why we chose to release Death of a Bounty Hunter early and at a steep discount (and if you download it on 04/17/2020, free!). 
We hope you love it. If you do, we would appreciate it if you’d consider doing the following (all optional—the choice is yours—but both are incredibly helpful to us): 
That’s it! Stay at home, read Death of a Bounty Hunter, and hang in there! We’ll all get through this together! 
Sincerely,
Jay Sherer and Nathan Scheck

Wednesday, 15 April 2020

Cinématographe Lumière



The following string of films reconstructs the first ever public film screening, presented by the Lumière Brothers at the Salon Indien du Grand Café in Paris, France. The very first performance was a private affair on December 28th, 1895, with public performances following a few months later.

Auguste and Louis Lumière were acquainted with photography from a young age, being the children of an accomplished photographer in his own right. After their father passed away in 1892, the brothers were free to explore emerging technologies like those pioneered by animator Émile Reynaud. In 1895 they patented the cinématographe and ushered in the age of modern film.

The playlist for their quite profitable public performances featured, in order: La Sortie de l'Usine Lumière à Lyon ("Workers Leaving the Lumiere Factory", also the first film they made), La Voltige ("Horse Trick Riders"), La Pêche aux poissons rouges ("fishing for goldfish"), Le Débarquement du Congrès de Photographie à Lyon ("the disembarkment of the Congress of Photographers in Lyon"), Les Forgerons ("Blacksmiths"), Le Jardinier (l'Arroseur Arrosé) ("The Gardener," or "The Sprinkler Sprinkled"), Repas de bébé ("Baby's Breakfast"), Le Saut à la couverture ("Jumping Onto the Blanket"), La Place des Cordeliers à Lyon ("Cordeliers Square in Lyon"--a street scene), La Mer (Baignade en mer) ("the sea [bathing in the sea]").

I apologize for not being able to provide the rich surroundings of a fin de siècle salon in which to enjoy the following shorts, but a weblog can only do so much...


Wednesday, 8 April 2020

La Charcuterie Mécanique and Sausage-Making in Silent Film

Ostensibly the world's first Science Fiction film, La Charcuterie mécanique (1895) by the  Lumière Brothers is a relatively simple trick film with a humourous little twist at the end... An inauspicious beginning for one of the great cinematic genres. It would be up to Georges Méliès to really develop it into something. That said, mechanical apparatus for making a variety of unpalatable sausages would become a sub-genre of its own in succeeding years. Making Sausages (aka: The End of All Things, 1897), The Sausage Machine (1897), Fun in a Butcher Shop (1901), and Dog Factory (1904) all followed suit.   

La Charcuterie mécanique (1895) by the Lumière Brothers.

Making Sausages (1897).

Fun in a Butcher Shop (1901) by Edison Studios.

Dog Factory (1904) by Edison Studios.

Wednesday, 1 April 2020

Early Canadian Futurism: Tisab Ting, The Storm of '92, and The Dominion in 1983

Unlike its neighbour to the south, Canada has no strong history of Scientific Romances. It has only really been in the last 40 years that the Dominion has developed a strong voice in Science Fiction as a whole. Even then, amidst the Robert J. Sawyers, A.E. van Voghts and William Gibsons, there is still plenty of ambivalence towards the genre. The great dame of Canadian literature, Margaret Atwood, still seems undecided on whether to allow her works to stoop to being called SF. 

The oddity of our lack of Scientific Romances comes into sharper focus when considering that Canada is, truly and uniquely, an invention of the Victorian Era. From earlier historic roots among Indigenous peoples, fur traders, and early French and British settlers, the Dominion of Canada as a single political institution began life with Confederation in 1867, when the independent colonies of Upper and Lower Canada, New Brunswick and Nova Scotia unified. In 1870, the Hudson's Bay Company sold its vast western holdings to the fledgling nation, all of which became the North-West Territories. Other colonies joined later, and other provinces were carved out of the NWT. Perhaps the most influential member was British Columbia. It joined Confederation in 1871 by the promise that within a decade, a Transcontinental Railway would be built connecting the Pacific coast to the Atlantic.

Not only is Canada a product of the Victorian Era, but it is even more so a product of the Steam Age. Perhaps no country on earth owes as much of its existence to the construction of a single railway. The driving of the last spike at Craigellachie, British Columbia, in 1885 linked Vancouver to the mouth of the St. Lawrence Seaway at a distance of some 5000 kilometres, allowing for the fast movement of immigrants, troops, and tourists through the rugged Canadian northwoods and beyond. Thanks to Canadian Pacific Railway's fleet of Royal Mail Steamers, the well-heeled could travel from England to Hong Kong, Australia, and New Zealand by way of Canada, journeying halfway across the world without ever leaving the British Empire.    

Imperial pride reflects in two of the earliest Canadian futurist tales... The only three early Canadian futurist tales to speak of. The Dominion in 1983, The Storm of '92, and Tisab Ting; or, The Electrical Kiss share the same essential conceit of showing the status of Canada in the decades hence. Published in 1883, 1889, and 1896 respectively, all dared to make technological and political predictions while imposing Victorian attitudes upon the 20th century.


Sunday, 29 March 2020

Announcing "Science Fiction of Antebellum America: An Anthology"

With the world under quarantine thanks to the Spanish Flu Covid-19, it seems a good time to offer a literary respite through the publication of my second anthology of 19th century science fiction. I am hereby announcing Science Fiction of Antebellum America: An Anthology!



Science fiction and the United States of America were created together. The same Enlightenment ideals that gave rise to the United States also gave birth to science fiction, and the genre developed along with the country. Pioneering authors like Edgar Allan Poe, Nathaniel Hawthorne, Fitz-James O’Brien, and Washington Irving experimented with this new kind of story to capture the fears and ambitions of a new country, a new frontier, and a new era in human history. This companion volume to Science Fiction of America’s Gilded Age collects the earliest satires, hoaxes, macabre tales, lost world fantasies and fairy tales that established the genre of science fiction in the heady days between the American Revolution and the American Civil War. Science Fiction of Antebellum America also includes a new introduction by yours truly.

To order Science Fiction of Antebellum America, click here. My first book, Science Fiction of America's Gilded Age, is also still available. If you would be willing to share this post on your social networks, leave a review on Amazon, and rate Science Fiction of Antebellum America, that would go a long way to helping spread the word! Thank you very much for you support of this blog for all these years and for your purchase of my new anthology!

P.S.: I'm always one step ahead with these... Later this year I'll be releasing an anthology on science fiction of the British Empire! 

Wednesday, 18 March 2020

Importing the Tourists: Canada's Banff National Park

If we can't export the scenery, we'll import the tourists.
This simple and pragmatic quote, spoken by William Cornelius Van Horne, vice-president of the Canadian Pacific Railway, not only articulates something fundamental about the creation of Canada's first national park but also something fundamental about Canada itself.

Banff National Park at dusk. All photos by Cory Gross unless otherwise noted.

Unlike its neighbour to the south, Canada was not founded on any high ideals about "life, liberty, and the pursuit of happiness." On the contrary, Canada's comparable motto has been "peace, order, and good government"... A much more prosaic ambition, though certainly no easier to achieve. Canada's history is largely economic instead of ideological, a larder of natural resources to be exploited by European industry rather than a new "Promised Land" of liberty.

The first of these industries was the fur trade. The lure of luxurious fur and an expanded French empire drove Samuel de Champlain to establish Quebec in 1608. "Canadien" coureur des bois did a brisk business in beaver fur, independently trading with local Indigenous peoples, until Pierre-Esprit Radisson and Médard Chouart des Groseilliers ran afoul of Quebec's governor in 1659. Soured to France, the pair turned to England and King Charles II, who signed the charter of the Hudson's Bay Company in 1670. That company, which still exists as Canada's iconic department store chain, followed waterways into the heart of the continent, expanding the British Empire as they went. 

The formation of the Dominion of Canada was also largely economic. In 1867, a quartet of independent British colonies joined together in "Confederation" to solidify trade and reinforce British sovereignty against a rapacious United States. Ontario, Quebec, Nova Scotia, and New Brunswick were joined in 1871 by Prince Edward Island and British Columbia. Lying between Ontario and British Columbia was a fair bit of space, monopolized by the Hudson's Bay Company. Anticipating the integration of British Columbia, the government of Canada bought the Hudson's Bay Company's interests in 1870. According to the Royal Proclamation of 1763, full title to the land could only be obtained from their sovereign inhabitants, leading to a series of treaties from 1871 to 1921 between the Crown and the Indigenous peoples of what is now Western Canada. It was from these "North-West Territories" that the provinces of Manitoba, Saskatchewan, and Alberta, and the territories of Yukon and Nunavut, were eventually carved out  (Newfoundland did not join Canada until 1949).      

British Columbia, isolated on the Pacific coast, only agreed to join Confederation on the promise that a railway would be built connecting them to the markets in the East. After various and sundry political scandals, the Canadian Pacific Railway finally began construction in 1880. Anticipating a decade-long project, it was actually completed in five years. The CPR still holds the record for the most amount of track laid by hand in a single day. As one can imagine, laying down that much track that quickly is very expensive. When the last spike was driven on November 7, 1885, in Craigellachie, British Columbia, the Canadian Pacific Railway slipped immediately into the tourism business.

Another view of twilight in Banff National Park.

Central to the CPR's strategy was the creation of a new national park. The world's first national park was Yellowstone in the United States, established on March 1, 1872. Within a decade Northern Pacific Railway laid tracks to park's northern gateway, and within the next two decades built up an infrastructure of luxurious lodges like Old Faithful Inn, Mammoth Hot Springs Hotel, and Lake Hotel. This didn't escape the notice of Canadian Pacific, and in the course of building the railway through the Canadian Rocky Mountains they accidentally happened across exactly the attraction around which to build a national park.

For as long as Indigenous peoples have lived in Western Canada, they have known of the hot springs that bubble up from beneath the Canadian Rockies. One of the oldest settlements in the country was found by archaeological surveys on the shores of Vermillion Lakes. 10,700 years ago, Indigenous bighorn sheep hunters camped near hot springs that emptied into the lake, maintaining open waters even during the depth of winter. Early European explorers came across them through the 1850's and 1870's, but they were brought to public attention when railway workers Frank McCabe and William McCardell descended through the roof of a hot spring cave. They attempted to set up a spa by the cave and its nearby open-air hot spring pool, prompting a legal battle into which the Government of Canada (by the CPR's invitation) intervened to establish Banff Hot Springs Reserve in 1885. This was expanded to "Rocky Mountain Park" in 1887, and finally expanded and renamed to Banff National Park in 1930. Banff was Canada's first national park and the second oldest extant national park in the world after Yellowstone.

A panorama of Vermillion Lakes, with Sulphur Mountain to the centre
and the distinctive peak of Mount Rundle to the left.


Saturday, 7 March 2020

350 Years of the Hudson's Bay Company on Film


Today's special post comes from the 2020 O Canada! Blogathon. Click on the banner above to learn more about films from the Great White North!



One of the oldest American film genres is the Western, dating back to 1903's The Great Train Robbery. Being one of the oldest, it has also been the most prone to falling in and out of favour. Worse yet, it can often become a victim of its own popularity. In the heydays when Westerns were everywhere, filmmakers looked for every opportunity to set the next serial, B-movie, or A-lister apart. That sometimes led to inspired insanity of Weird Westerns like Gene Autry's Phantom Empire, but one of the most enduring has been the "Northern." Still steeped in American attitudes and traditions, the action is transplanted to the mighty "Northwoods." Mounted Police take the place of sheriffs and rangers (despite having very different approaches to law enforcement), French Canadians and Métis take the place of Mexicans and swarthy "half-breeds", the Sierra Nevada mountains replaced Griffith Park (few productions ever actually made it up to the Canadian Rockies), but the movie "Indians" remained more or less the same. And snow. Always snow.

The Klondike Gold Rush of 1896-97 became a potent setting, though it was always imagined by Hollywood's writers and directors to be a wild and lawless place more like Nevada, filled with gunfights and swaggering riverboat gamblers. The reality was that the Mounted Police under the command of Sam Steele kept everything very orderly in the Queen's Dominion, much to the surprise of unruly American Stampeders. Sometimes the setting was the building of the Canadian Pacific Railway across the country in the early 1880's, though again, with considerably more bloodshed than happened in fact. Treaties had been signed between the Crown and Indigenous peoples years before the railway was built. Most often, the setting for a Northern was just the far-flung regions of a generic mountainous, forested landscape. The most archetypal of these films is Rose Marie, the 1936 musical starring Nelson Eddy and Jeanette Macdonald. Ostensibly taking place in Northern Quebec maybe, it was filmed in the Lake Tahoe region of California and features a song and dance number under a massive faux-Pacific Northwest totem pole.

But before the Mounties, before the treaties, and before the Canadian Pacific Railway, the vast regions of the Northwoods were the monopoly of the Hudson's Bay Company. Turning 350 years old in 2020, Canada's national department store is the world's oldest retailer and one of the world's oldest extant commercial enterprises. Its exciting images of palisade trading posts, luxurious beaver fur, ribald voyageurs, and isolation in the Northwoods turned Hollywood's head, and often to the Company's chagrin.



Wednesday, 4 March 2020

Edward S. Ellis' The Steam Man of the Prairies

The 1860's were a crucial period in American history. Perhaps the most crucial, in fact.

The American Civil War began in 1861, lasting to 1865. Over two million troops from the North and up to one million troops from the South clashed over very different interpretations of individual liberty and the meaning of a "United States." The catalyst for the American Civil War was the question of slavery, and the means to fight it was mass industrialized slaughter. In its terrible wake, 365,000 soldiers of the Union and 290,000 soldiers of the Confederacy lay dead, leaving behind a specter that still haunts the United States to this day. It also left Abraham Lincoln, the Great Emancipator, with the dubious distinction of being the first US President to be assassinated. Nevertheless the United States emerged from the violence wounded but whole. The question of slavery was emphatically answered with freedom's ring and the terrible machinery of warfare could be now turned to America's economic ascendancy on the world stage.

The Homestead Act of 1862 and completion of the Transcontinental Railway in 1869 brought a massive influx of newcomers to the prairies. The number of people living on farms doubled from 10 million to 22 million between 1860 and 1880, rising to 31 million by 1905. The rising number of settlers, mountain men, industrial magnates, and tourists also created a crisis on the frontier. In 1864, Lincoln signed the Yosemite Grant, a piece of federal legislation designating the Yosemite Valley and Mariposa Grove of Giant Sequoia as a California state park. This is turn laid the groundwork for the creation of Yellowstone National Park in 1872, the first national park in the United States and the world. Yellowstone was itself only half-believed rumours through the 1860's, and it was in 1869 that Major John Wesley Powell conducted his unbelievable expedition into the Grand Canyon. These ventures only nominally protected these irreplaceable parcels of  land from exploitation. 1862 also saw a gold rush in Montana... Not as iconic as the California Gold Rush of 1849 or Klondike Gold Rush of 1897, it was still this gold rush that, in part, inspired one of the first true American science fiction novels: The Huge Hunter; or, The Steam Man of the Prairies by Edward S. Ellis.

  

Saturday, 22 February 2020

Disney's The Lone Ranger


Today's special post is part of the second annual So Bad It's Good Blogathon. Click on the banner above to see rousing defenses of other films, ranging from the unfairly maligned to the hilariously terrible.



One of the biggest challenges faced by Disney in the past decade was trying to recapture the magic of the Pirates of the Caribbean franchise and appeal to the young male demographics. 2010 saw Prince of Persia: The Sands of Time and Tron: Legacy, both of which under-performed and under-impressed. Pirates of the Caribbean returned in 2011 with On Stranger Tides, an attempt at a second series that sputtered out. That was followed in 2017 by Dead Men Tell No Tales, which also went nowhere. Disney completely threw John Carter under the bus in 2012. The company's ineptitude at either creating big budget franchise tentpoles or marketing them properly eventually lead to them buying out Lucasfilm in 2012 for the guaranteed moneymaker of Star Wars... Only to drive that one into the ground too. After adjusting for inflation, The Force Awakens (2015) is the 11th highest grossing movie of all time, The Last Jedi (2017) is 44th, and The Rise of Skywalker (2019) is 94th. Their only consistent success has been Marvel Studios, purchased in 2009, which may have succeeded in spite of Disney rather than because of it.

Tucked into that decennium horribilis was 2013's The Lone Ranger. The Rotten Tomatoes review aggregator currently shows a critical approval rating of 31% and they immediately declared it a flop after it pulled in second to Despicable Me 2 on opening night. When it came to Disney summer adventure movies of the 2010's, critics seemed more zealous than usual to ordain themselves the gatekeepers of culture who can make or break a film with the tap of a keyboard. Mark Hughes of Forbes decried the media as "flop-hungry," and it is hard to disagree with him given the histrionics critics have engaged in. Gilbert Cruz of The Vulture decrees that it "Represents Everything That's Wrong With Hollywood Blockbusters," San Francisco Chronicle's Mick LaSalle calls it "the biggest stinker of 2013" and Lou Lumenick of the New York Post audaciously declared it "the worst [Western] — and then some." On the contrary, The Lone Ranger was considerably better than most movies of 2013 and, far from being the worst Western ever made, it's not even the worst version of The Lone Ranger. I have worse Westerns in my own home video collection! Such insensible, immoderate, hysterical criticisms betray the fact that The Lone Ranger is actually a very enjoyable movie in the vein of 1990's costume adventure films like Tombstone (1993).



Perhaps critics were unprepared for the fact that it is predominately a comedy, or perhaps they were unprepared to have to think about it thematically. The Lone Ranger, drafted by the same creative team as Pirates of the Caribbean, pokes at the corniness of the original radio and television versions in addition to genuine attempts to reach out to the tastes of modern audiences. In doing so, it can become corny in its own right, with a wink and a nod, proving that it isn't poking at the original Ranger in a mean way. On the contrary, to fully understand the subtext to this film, it helps to have a working knowledge of the original. 

Our story opens in a carnival in San Francisco in 1933, the same year that The Lone Ranger debuted on radio. A young boy, clad in Hollywood cowboy style complete with Lone Ranger mask enters a Wild West show, out of which pours the music of Gene Autry. The carnival barker promises that the exhibit will take visitors back to "the thrilling days of yesteryear," another recall to the introduction of the radio show. Inside are mostly static displays of buffalo and grizzly bears, dusty relics of a bygone past. One display, however, features a living "Noble Savage"... An aged and decrepit Tonto, who proceeds to tell the boy the true story of the Lone Ranger.

Not long into the film we come to understand that Tonto - who has traditionally been represented as a "Noble Savage" archetype - is an unreliable narrator, raising the question of how much of the true story of the Lone Ranger is really true. The boy himself tries to remind Tonto (or convince himself) that the Lone Ranger is just a made-up character. A key point in the film is that Tonto is emotionally scarred from the childhood trauma that connects directly to his desire for revenge on Butch Cavendish. Cherokee elders relate the story to John Reid, the Ranger's alter ego, believing that Tonto's mind is broken and that his perception of the world is skewed. At least it would explain why he keeps trying to feed the dead crow on his head, or why he wears one at all. Supernatural, "Weird West" elements are layered throughout The Lone Ranger, but these are all called into question. Are they real or imagined by Tonto? Is the Lone Ranger real or imaginary? For that matter, is Tonto even real or was he also imagined by the boy?

Consequently, the film calls our attention to the act of Western myth-making and sets about, in its own way, to deconstruct how cultures recollect and reinterpret their own history (including a self-deconstruction of the very act of making cinematic reboots, which is the sort of self-awareness I haven't seen since the South Park movie being a satire of the controversy the South Park movie would generate). The reality of western settlement in the United States has been layered over and over again by myth-making and faulty recollection, due exactly to film, television and radio. Not only them, but even the people who lived it, as with Buffalo Bill Cody's wild west shows, Ned Buntline's dime novels and the paintings of Charlie Russell. From Washington Irving to Walt Disney, the United States has always been a myth-making culture that reworks and retools its own history to communicate a certain ideal, however divorced that may be from fact. Everyone knows about the Boston Tea Party, Paul Revere and Washington crossing the Delaware, but not about the Royal Proclamation of 1763 that was a proximate cause of the Revolution. The Royal Proclamation recognized Indigenous peoples as sovereign nations, thus forbidding the conquest of Native lands, instead requiring legal land surrender by treaty. Everyone remembers to remember the Alamo, but doesn't remember that Mexico was actually in the right in that conflict. Jim Bowie, Davy Crockett, William Travis and the Texan settlers were essentially foreign insurgents whose motivations included maintaining a slave economy outlawed by Mexico. It is common knowledge that the Wild West was settled by the gun, less well-known that the average annual homicide rate per city during the period of western settlement was two, and that gun control was strictly enforced in towns. The Gunfight at the OK Corral was instigated by the Clantons and McLaurys flouting the ordinance not to carry firearms in Tombstone, and three people died. Illegally carrying firearms was the second most common cause of arrest after drunk and disorderly conduct. 

Given this, The Lone Ranger did hold out the threat of imposing upon us that uniquely American version of the hero's journey, where the limp-wristed, educated intellectual must learn that the only way to decisively resolve conflict is with bloodshed. Theologian Walter Wink dubbed this story form the "Myth of Redemptive Violence," dating back at least as early as the Babylonian Enuma Elish of 1250BCE. In that classical myth, the god Marduk creates the cosmos by stretching out of the entrails of his slain foe, the dragon Tiamat. American history invites - almost requires - adherence to the moral framework of the Myth of Redemptive Violence, since the American Revolution is as concrete an historical realization of the myth of Tiamat and Marduk as is possible. The United States has a particular version of this myth which reinforces the ideal of the rugged, individualistic, gun-toting Republican type against the effete, intellectual, legalistic Democratic type. Our introduction to John Reid is his sitting on a train reading John Locke's Two Treatises on Government. During the first big train robbery action scene, we also find out that he eschews firearms and is a lawyer. 

Thankfully the film retains its composure and adherence to the original character, whose ultimate goal was justice. Not justice taken into one's own hand, but the justice of due legal process. Though he grows into a more model American toughguy, the Lone Ranger still possesses the ethic that he is an agent of civilization, even when being so requires being an outlaw (which also fits in with the American fetish for the criminal class, from Old West outlaws to Depression-Era gangsters to easy riding bikers to inner city gangstas). This new version also hews closely enough to the established origin of the character, complete with that infamous ride of the Texas Rangers into the canyon and the silver mine which would furnish a near endless supply of silver bullets. The origin of Silver is distinctly different, as required by the ambiguous supernaturalism imparted by Tonto.

Silver, the horse, is a fantastic actor and frequently steals the show. Armie Hammer is adequate in a role more clearly written for Brendan Fraser circa The Mummy (1999), and Johnny Depp does much to act his way out of the fundamental ickiness of casting a white actor to play an Indigenous character. The ambivalence of his playing Tonto is, I think, handled as well as one can hope by how Tonto is written. Because he is emotionally traumatized and mentally broken, he is not intended to represent a typical "Indian Brave" or "Noble Savage." His being in the Wild West show's display as a specimen of the "Noble Savage" is lampshading how Tonto has traditionally been portrayed. He is allowed to break out of having to portray Native Americans as a whole and permitted simply to act the character. Between them, the Lone Ranger and Tonto have a fun and lively dynamic that chews more scenery than did a taciturn Ranger and a stoic Tonto.

Some legitimate criticism pointed out the gratuity of some crude humour and violence. It seems that simply killing someone is no longer quite bad enough in a cinema environment glutted with zombies, starship disasters, planet-destroying lasers, and literally snapping half of the universe into nonexistence. Now the cold-blooded killers have to eat their victim's remains just to prove that they're really bad guys. Despite being needless, the acts of cannibalism were written well into the plot and fitted with the film's supernaturalism and theme of nature being out of balance. I suspect more would have been made of nature's imbalance had not major parts of the script been excised when Disney brought down the fiscal hammer during production. Lost were genuine werewolves, necessitating the iconic silver bullets. 

It would also have been too easy to play the Lone Ranger for laughs. As a product of a bygone age reinterpreted into an atmosphere of identity politics, it would have been seductive to make him the butt of a joke... That white men are stupid and old things are funny because they're not modern things. That is blessedly not the case, even though it is mostly a comedy with some very dumb moments. Any fun that is poked at the Lone Ranger or his race earns the climactic payoff when John Reid owns his masked identity, takes off on Silver's back, and Hans Zimmer's arrangement of the William Tell Overture hits the octane. It's an origin story after all. It has to end with the hero rising up to become the legend admired by our young boy in 1933.

The catastrophic reception of The Lone Ranger was unfair, but it wasn't as disastrous as, say, John  Carter's. The box office failure of John Carter ended any conceivable plans to continue with the trilogy implied by Burroughs' books. While The Lone Ranger's failure does deny us any further adventures with this particular duo of Armie Hammer and Johnny Depp, the film itself acts as an origin story for all preceding versions of the characters. The boy in 1933 is clearly a fan of the radio show and film serials (1938 and 1939). Those begat the television show (1949-57), science fiction-inspired cartoon (1966-68), and other media. The purpose of this film is to highlight, lampshade, and deconstruct the origins of the character itself, to tell his "true story" after nearly a century of radio, television, cartoons, and film. As such, Disney's The Lone Ranger does stand alone, which works handily after the professional critic class were done with it.