The Jetsons Future of J.D. Robb

I’ve been slowly reading the Eve Dallas mysteries by J.D. Robb (Nora Roberts), a few at a time, and recently passed number 25 in the series. Even while reading the first in the series, Naked in Death, I’ve thought the future New York City Robb presented was a “Jetsons Future.” By the way, this is not a critique. It’s more me musing about a concept, and how Robb put it into practice; how she used science fictional trappings within the context of a noir detective series, while keeping the science fictional elements accessible to readers who are not afficionados of sf.

To me, a “Jetsons Future” means several things. First, that there’s a retro-futurist feel – in the Eve Dallas series, the future technology depicted feels, to me, very like the future as it was depicted in the 1960s. Exhibit A, flying cars. Exhibit B, very advanced household robots (called droids, but they don’t seem self-aware). Exhibit C, the autochef (similar to a device shown in Star Trek). These signifiers of the future don’t change much over the course of the series; however, Robb adds a smear of noir to the worldbuilding, for example, a rundown droid as the clerk in a pay-by-the-hour flop, or flying cars that don’t run properly.

I feel that in this series, the retro-futuristic elements–the droids, the autochefs, the flying cars–are stage dressing, there for visual interest or sometimes for humor, as when something malfunctions. The future technology constantly appears in the stories, but it isn’t the reason for the stories.

A common definition of science fiction is exploring the results of a hypothetical change, whether that change be technological, environmental, or social. The Robb series, however, is primarily mystery, sub-genre detective fiction, sub-genre noir. Its plots thus follow the conventions of mystery, not science fiction. The science fictional elements are there only in service of the setting and mystery plot.

For example, there are in-series references to “The Urban Wars,” a time of major social upheaval; the older generations alive in the time of the series would have experienced these wars in their youth. However, the cause and direct effects of the Urban Wars are never explained or explored. For example, a character sees a building, which is cheap and ugly because it was quickly erected after the Urban Wars, or a character’s wife was killed in the Urban Wars. It’s implied these wars were worldwide, but never confirmed. To me, the main purpose of the Urban Wars in the series is to add noir. The series is set in the future, and the future isn’t shiny. Why? Perhaps the Urban Wars wiped out all possibility of such a future. But that’s not explored in the series – the point is how that event in the past affected the mystery plot.

Another aspect of the worldbuilding is the mixture of future tech of different levels. In Eve Dallas’ world, there are fabulous satellite resorts with fabulous technology; these are contrasted with decaying neighborhoods of New York City, whose tech is either broken, out of date, or nonexistent. The implications of an economy that can support such satellites is not deeply explored, even though one of the early novels uses such a resort as a setting. Again, the resorts are there in service of the mystery plot.

The police work in the series is made much easier by future tech: spray sealant so police can work directly with crime scenes; advanced laboratory techniques for uncovering trace evidence (mostly not described); voice-activated computers that run complex potential scenarios. The latter, especially, is useful for the mystery plot because it saves story-time. The reader can be offered possible solutions to the murder without having to read all the steps leading to those conclusions; having those computer probabilities can make the mystery more complex and enjoyable.

Other future tech in the series seems purely recreational, and again is used as background, such as a holographic projector that creates a realistic beach scene that, apparently, is real to the touch as well. As a science fiction reader, I’m sometimes thrown out of the story a little when I wonder, “is that possible with this society’s technological level?” Even though it’s clear from the text that this type of tech is meant to be a throwaway, merely an interesting setting for a sex scene or background for relevant dialogue.

I enjoy these books, but I think I would enjoy them even more if the science fictional aspects were more firmly integrated with the mystery plots.

If you’re interested in reading for yourself, first in the series is Naked in Death, followed by Glory in Death and Immortal in Death.

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“Garrow’s Law,” Series 1

I have a new post up at The Criminal Element today, titled Dynamic Duos: Wimsey and Vane.

I recently finished watching Garrow’s Law, Series One.

The series is a little bit like Law and Order: Georgian England, with Andrew Buchan in the lead role. It’s about William Garrow, a real historical figure, and how he changed how the accused were defended in court. He’s best known because he first introduced “innocent until proven guilty.” The cases used were drawn from real cases tried at the Old Bailey. The crimes themselves are very similar to crimes of today; the difference is in the way the trials are argued, and the severe punishments meted out for what, to us, are minor crimes. For example, thievery can be punished by hanging, while assault was a misdemeanor.

I enjoy the plots but I’m really in it for the costumes, costumes, costumes. Wigs! Men in heels!

My favorite character is Sir Arthur, played by Rupert Graves (pictured, in wig). Sir Arthur has things he wants that he isn’t getting, and he demonstrates regrets and petty triumphs and, well, he’s complex; I want to know what he will do next. His relationship with his wife, Lady Sarah (Lyndsey Marshall), has a lot of intriguing angles; he appears to love her, but does not entirely trust her all the time in a way that seems part jealousy of Garrow and her other interests (court cases) and part “Why are you against my ideals (such as they are)?”

I am not terribly into the (platonic, so far) romance between Lady Sarah and Garrow, which gets more screen time than anything else she does. I think I would like Sarah more if she wasn’t interested in Garrow romantically at all. Why must there always be romance, or thwarted romance? Why can’t the female lead have other needs and desires?

Garrow (Andrew Buchan) is the protagonist, but he’s also young and arrogant. Though I find him entertaining, he’s less interesting to me. We know he’s ultimately going to win; even when he loses, he learns valuable lessons that he will later apply to winning. For that reason, his mistakes draw me in less than Sir Arthur’s.

I could watch Alun Armstrong as Southouse, Garrow’s mentor, all day. What a splendid actor.

I also like Silvester (Aidan McArdle), generally Garrow’s opponent in court. Their relationship is all pointed banter, and they even have a duel! I can’t fault the character for being snarky at Garrow because the things he’s snarky about are generally true. Garrow’s going to win in the end, but he doesn’t have to be quite so annoying about it, does he?

I’m looking forward to series two. I know it’s based on historical events, but no spoilers for second series in comments, please – I know it bothers some people, and I’d like to be nice about it.

Posted in dvd, historical fiction, nonfiction, television | Tagged | 2 Comments

“Conscripts,” Siegfried Sassoon

Conscripts

Fall in, that awkward squad, and strike no more
Attractive attitudes! Dress by the right!
The luminous rich colours that you wore
Have changed to hueless khaki in the night.
Magic? What’s magic got to do with you?
There’s no such thing! Blood’s red, and skies are blue.’

They gasped and sweated, marching up and down.
I drilled them till they cursed my raucous shout.
Love chucked his lute away and dropped his crown.
Rhyme got sore heels and wanted to fall out.
‘Left, right! Press on your butts!’ They looked at me
Reproachful; how I longed to set them free!

I gave them lectures on Defence, Attack;
They fidgeted and shuffled, yawned and sighed,
And boggled at my questions. Joy was slack,
And Wisdom gnawed his fingers, gloomy-eyed.
Young Fancy–how I loved him all the while–
Stared at his note-book with a rueful smile.

Their training done, I shipped them all to France,
Where most of those I’d loved too well got killed.
Rapture and pale Enchantment and Romance,
And many a sickly, slender lord who’d filled
My soul long since with lutanies of sin,
Went home, because they couldn’t stand the din.

But the kind, common ones that I despised
(Hardly a man of them I’d count as friend),
What stubborn-hearted virtues they disguised!
They stood and played the hero to the end,
Won gold and silver medals bright with bars,
And marched resplendent home with crowns and stars.

–Siegfried Sassoon, The Old Huntsman and Other Poems, 1918

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Where, When, and How I Read

I read everywhere. If I don’t have a book with me (or these days, my Kindle), I constantly glance around, feeling as if I’ve forgotten something. Like a limb. Going out for the day always involves deciding what I’m going to bring with me to read.

For the most part, I read fiction. I read it fast, in greedy gulps. When I was younger, up through my first years after college, I tended to re-read favorite books, or often just my favorite parts of those books. Favorites from the library, ones I’d checked out over and over to re-read, were some of the first used paperbacks I bought for myself–for the most part, I couldn’t afford to buy new books, but I bought as many used ones as I could. I wanted to own them. I wanted to make them even more mine than reading them had done. Even now, I still have that strange sort of emotional and intellectual greed.

I don’t think it’s the books themselves, I think it’s the stories. I sometimes get impatient and skim if I’m not enjoying the story or the author’s style, but even in those cases I often want to know how the story comes out. I’ve been trying to train myself not to do this, to simply stop reading if I’m not enjoying the book. There are too many books in the world (and in my terrifying TBR piles) to waste time on dull stories, or stories whose moral implications revolt me.

And…I think I was supposed to be talking about mechanics. I have several ways in which I read. First is immersion. That’s when, for example, I spend most of a Sunday lounging on my bed reading a book, with occasional pauses for hot tea, petting the cat, etc.. Or I sometimes immerse myself after a long day at work. When immersed, I stick with the same book for a long time, or until I’ve finished it.

Second is reading in the cracks. I read while waiting for the bus in the morning, on the bus, while eating lunch, in the restroom, while waiting in line at the post office, etc., etc., etc.. I have been known to choose the bus over walking on a nice day because I really want to read, and I can’t read while walking. Well, I can and have, but I live in a city, and it’s not wise or safe to do so. In this kind of reading, I might be carrying around the same book all day, or I might be reading several books at once (usually on my Kindle).

I’m not sure if reading before bed is a third category; it’s sort of a mixture of the first two. It’s rare that I’m so tired I can’t read before I go to sleep. Sometimes it’s the current fictional offering, or light nonfiction, which is likely to keep me up later than I planned. Sometimes it’s dense nonfiction that I am deliberately parceling out, to keep myself from skimming. Books of that type are also my usual “insomnia books” for when I wake in the wee hours – a few months ago, I finished a yearlong reread of The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination in that way.

Fourth is reading while on the elliptical, at the gym; if I have the right reading material, I lose track of time passing, which is not the case when I listen to music, unless the songs are very long, and then it only works up to a point. My gym reading has only been going on for about a year and a half. I started with printouts of newsletters and articles, then bought a Kindle, and now I use that pretty exclusively in the gym. My gym reading is usually easily-accessible fiction and nonfiction. I’ve found dense sentences or slow-moving stories can’t hold my attention if I’m exercising at the same time. Henry James is terrible for elliptical reading. Plotty genre stories are excellent for elliptical reading.

I also often read samples of new writers while on the elliptical; the short length is very suitable for the purpose, and my judgement is affected by the exercise, so I’m less likely to buy something, when I’m trying not to buy too many more books! On the other hand, twice I have bought a new book with my Kindle, while exercising, after having read the sample, and then continued to read it while I continued exercising. Yes, I’m a bookoholic. Since I bought the Kindle, I have sampled a great many more new authors, recommended to me or not, than I have done for a long time.

On the Kindle, I’ve learned I tend to be more of a butterfly, flitting from book to book. This might be a practical result of having so many books available on a single device.

This is getting kind of long, so I’ll stop for now. I think I’ve covered the basics of my reading practice.

This post came about because of these posts:
Where, When, and How Do You Read? at Read React Review.
Evaluating Books at Teach Me Tonight.

Posted in kindle, reading | 2 Comments

You’re My Waterloo: Napoleonic Wars Heroes & Heroines

If you missed it yesterday, I have another post up at Heroes and Heartbreakers: You’re My Waterloo: Top 5 Napoleonic Wars Heroes & Heroines.

There’s some discussion going about other folks’ favorites in that category.

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Brenda Novak’s Online Auction for Diabetes Research

I’m participating in author Brenda Novak’s Annual Online Auction for Diabetes Research. You can bid here on an autographed print copy of The Duke and The Pirate Queen. You must register to bid.

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Fast Time and Slow Time in Fiction

I’ve been reading The Art of Time in Fiction: As Long as It Takes by Joan Silber for a while now. It’s a small book, and easy to read, but it packs in a lot of concepts, and I don’t want to rush my reading of it both for that reason and because I’m enjoying it so much. There’s a mix of lofty concepts of time and story with practical writing tips.

In fiction, things might happen at a “normal pace,” depicted in scenes. Or events might be summarized, so in effect something that would take a long time if lived through minute-by-minute can be reduced to a sentence or two. Conversely, an event that in real life would take only five minutes can be stretched, in fiction, to fill out a dozen pages. Think of novels whose action all happens in a single day, and short stories that cover years.

One way to make an event seem longer is to focus in tightly on details, making each detail relevant and vital. The moment stretches as the reader reads and experiences each detail. Another is to play with time in the interim spaces, adding in flashback or internal monologue between current events. Speeding up time can be accomplished by skipping over those details.

So when Darth Vader is falling off a log, he might only have time to gasp (whoosh) and then splat, he’s in the dirt. If you want that fall to be long, he could gasp and then remember the events leading up to his needing artificial breath support, or realize that his gasp brought in air tasting like pine, or is it pine plus rotting leaves?, and wonder if the fall will damage his helmet. (Okay, so he would use The Force and not fall in the first place. Just go with it!)

How the writer depicts time has to do with the story she’s trying to tell. Techniques might vary between short stories and novels; at the least, she’s probably using a different range of techniques depending on length.

If you want more information about the Silber book, this review at Minnesota Reads gives a good overview.

I dug into one of my own short stories, “The Magnificent Threesome,” and pulled out this example:

#

[summary of events] Shouts and pistol cracks, and more shotgun blasts, covered any more dialogue. [more summary, and the word slow; detail brings reader back into real time] Austin followed DeVille’s slow creep around the corner and was nearly knocked down by a reeling, brawny figure wielding a flaming branch in one hand and a pistol in the other. [followed by direct action in real time] The intruder swung the pistol at the side window; Austin leapt at him, wrestling for the torch before he could shove it through the hole in the glass and set the house afire.

#

I followed that pattern of time-depiction because, first, the story was erotica and I didn’t want to spend too much of my limited wordcount on the action scenes. Second, I wanted to focus in on the interesting events that were unique to my story. Hooligans attacking is easy for a reader to picture, so I didn’t have to provide a lot of detail. The actions I detailed were leading up to one of the story’s most important events, one that precipitates the sex scene.

I am hoping that this concepts from this book will help me to have more control over certain aspects of my writing.

#

I have a post up at Heroes and Heartbreakers today: You’re My Waterloo: Top 5 Napoleonic Wars Heroes & Heroines.

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Planning for RWA 2011

Next month, at least at the end of next month, I’ll be attending the annual National Conference of the Romance Writers of America; on the same trip, I’m attending IASPR’s conference, so I’ll be staying in two different hotels. Which means that I need to make sure I have all of my ducks in a row, because that week of travel will be upon me faster than I think.

Both IASPR and RWA are being held this year in New York City, which for me is quite convenient, since I live in Philadelphia, roughly 100 miles away. No flight cost for me this year! I can travel very cheaply on Bolt Bus or MegaBus, and get free wi-fi in the bargain. They both drop off in midtown, which is about as convenient as it gets. For a larger fee, I can take the train. After that, there’s getting around in the city itself. I’ll have a suitcase filled with a week’s worth of luggage, which is not at all convenient to drag on the subway, so I’m planning to take a cab to and from my hotels. Here’s a useful site for estimating fares.

I’ve already taken care of my registration and hotel reservations for the conferences, paid for events held by my RWA chapter (Passionate Ink) and the Romance Divas, and found a roommate. After travel plans, I’ll need to start organizing my schedule for the conference itself, then start thinking about packing: what clothes will I need for what events? (And which of them pack well?) What promotional materials will I bring aside from business cards, if any?

Sometimes I think I spend as much time preparing for a conference as attending one. But for me, the preparation is a large part of the fun.

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“The Last Meeting,” Siegfried Sassoon

The Last Meeting

I

Because the night was falling warm and still
Upon a golden day at April’s end,
I thought; I will go up the hill once more
To find the face of him that I have lost,
And speak with him before his ghost has flown
Far from the earth that might not keep him long.

So down the road I went, pausing to see
How slow the dusk drew on, and how the folk
Loitered about their doorways, well-content
With the fine weather and the waxing year.
The miller’s house, that glimmered with grey walls,
Turned me aside; and for a while I leaned
Along the tottering rail beside the bridge
To watch the dripping mill-wheel green with damp.
The miller peered at me with shadowed eyes
And pallid face: I could not hear his voice
For sound of the weir’s plunging. He was old.
His days went round with the unhurrying wheel.

Moving along the street, each side I saw
The humble, kindly folk in lamp-lit rooms;
Children at table; simple, homely wives;
Strong, grizzled men; and soldiers back from war,
Scaring the gaping elders with loud talk.

Soon all the jumbled roofs were down the hill,
And I was turning up the grassy lane
That goes to the big, empty house that stands
Above the town, half-hid by towering trees.
I looked below and saw the glinting lights:
I heard the treble cries of bustling life,
And mirth, and scolding; and the grind of wheels.
An engine whistled, piercing-shrill, and called
High echoes from the sombre slopes afar;
Then a long line of trucks began to move.

It was quite still; the columned chestnuts stood
Dark in their noble canopies of leaves.
I thought: ‘A little longer I’ll delay,
And then he’ll be more glad to hear my feet,
And with low laughter ask me why I’m late.
The place will be too dim to show his eyes,
But he will loom above me like a tree,
With lifted arms and body tall and strong.’

There stood the empty house; a ghostly hulk
Becalmed and huge, massed in the mantling dark,
As builders left it when quick-shattering war
Leapt upon France and called her men to fight.
Lightly along the terraces I trod,
Crunching the rubble till I found the door
That gaped in twilight, framing inward gloom.
An owl flew out from under the high eaves
To vanish secretly among the firs,
Where lofty boughs netted the gleam of stars.
I stumbled in; the dusty floors were strewn
With cumbering piles of planks and props and beams;
Tall windows gapped the walls; the place was free
To every searching gust and jousting gale;
But now they slept; I was afraid to speak,
And heavily the shadows crowded in.

I called him, once; then listened: nothing moved:
Only my thumping heart beat out the time.
Whispering his name, I groped from room to room.

Quite empty was that house; it could not hold
His human ghost, remembered in the love
That strove in vain to be companioned still.

II

Blindly I sought the woods that I had known
So beautiful with morning when I came
Amazed with spring that wove the hazel twigs
With misty raiment of awakening green.
I found a holy dimness, and the peace
Of sanctuary, austerely built of trees,
And wonder stooping from the tranquil sky.

Ah! but there was no need to call his name.
He was beside me now, as swift as light.
I knew him crushed to earth in scentless flowers,
And lifted in the rapture of dark pines.
‘For now,’ he said, ‘my spirit has more eyes
Than heaven has stars; and they are lit by love.
My body is the magic of the world,
And dawn and sunset flame with my spilt blood.
My breath is the great wind, and I am filled
With molten power and surge of the bright waves
That chant my doom along the ocean’s edge.

‘Look in the faces of the flowers and find
The innocence that shrives me; stoop to the stream
That you may share the wisdom of my peace.
For talking water travels undismayed.
The luminous willows lean to it with tales
Of the young earth; and swallows dip their wings
Where showering hawthorn strews the lanes of light.

‘I can remember summer in one thought
Of wind-swept green, and deeps of melting blue,
And scent of limes in bloom; and I can hear
Distinct the early mower in the grass,
Whetting his blade along some morn of June.

‘For I was born to the round world’s delight,
And knowledge of enfolding motherhood,
Whose tenderness, that shines through constant toil,
Gathers the naked children to her knees.
In death I can remember how she came
To kiss me while I slept; still I can share
The glee of childhood; and the fleeting gloom
When all my flowers were washed with rain of tears.

‘I triumph in the choruses of birds,
Bursting like April buds in gyres of song.
My meditations are the blaze of noon
On silent woods, where glory burns the leaves.
I have shared breathless vigils; I have slaked
The thirst of my desires in bounteous rain
Pouring and splashing downward through the dark.
Loud storm has roused me with its winking glare,
And voice of doom that crackles overhead.
I have been tired and watchful, craving rest,
Till the slow-footed hours have touched my brows
And laid me on the breast of sundering sleep.’

III

I know that he is lost among the stars,
And may return no more but in their light.
Though his hushed voice may call me in the stir
Of whispering trees, I shall not understand.
Men may not speak with stillness; and the joy
Of brooks that leap and tumble down green hills
Is faster than their feet; and all their thoughts
Can win no meaning from the talk of birds.

My heart is fooled with fancies, being wise;
For fancy is the gleaming of wet flowers
When the hid sun looks forth with golden stare.
Thus, when I find new loveliness to praise,
And things long-known shine out in sudden grace,
Then will I think: ‘He moves before me now.’
So he will never come but in delight,
And, as it was in life, his name shall be
Wonder awaking in a summer dawn,
And youth, that dying, touched my lips to song.

Flixécourt. May 1916

–Siegfried Sassoon, The Old Huntsman and Other Poems, 1918

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Short-haired women, no-haired women

I found this article in The Guardian by Anne Billson very, very interesting, given that the heroine of The Duke and The Pirate Queen shaves her head, mainly for the purpose of displaying the privateer tattoos on her scalp.

“…long, lustrous tresses are one of the major signifiers of femininity. One of the first things a girl does when disguising her gender is cut her hair…”

“Short hair on female characters is rarely permitted to exist in its own right. It’s a statement, a sign of playing men at their own game…Getting chopped is seldom something female characters do of their own volition. It deprives them of a formidable weapon, and, instead of giving them masculine strength, only emphasises their helplessness.”

“When women have their hair cropped on screen, it’s usually because they’re under some sort of compulsion or duress.”

“It’s a small step from boyish crop to baldness, which may in real life signify Britney-style breakdown, but in the movies more often means alien (Star Trek: The Motion Picture), monster (Splice) or homicidal maniac (Blue Sunshine).”

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