Recent Posts (page 26 / 34)

by Quentin Lewis

Quentin's Weeknotes 5/2/20-5/8/20

This week:

by Quentin Lewis

Book Notes: The Cabin at the End of the World by Paul Tremblay

The Cabin at the End of the World

by Paul Tremblay

Finished 4/26/20

Riveting, devastating, and thoughtful.

The plot is fairly straightforward. A gay couple with an adopted daughter is taking a vacation in a remote cabin in New Hampshire. They are visited by four individuals who, after breaking into the cabin and taking them hostage, tell them that they have to choose one of them to kill or the world will end.

After reading this, I’m fairly convinced that Paul Tremblay has been working his way through horror and thriller tropes, blasting them into another dimension with every approach. “A Head full of Ghosts” was a demonic possession story in an age of reality television and economic crisis. “Disappearance at Devil’s Rock” was a child abduction tale, jury-rigged and unstable due to the unreliability of memory, relationship, and history. Now with “Cabin at the End of the World” Tremblay has taken the home-invasion sub-genre and transformed it into a story about faith, politics, mass-media and ecological disaster.

I have consistently appreciated Tremblay’s insistence on ambiguity and uncertainty as key modes of good horror. Folks looking for a Scooby-doo mask removal at the end should steer clear, as the novel leaves some of its central narrative questions unanswered, in favor of a focus on the characters and the resolution of their relationships to one another. To me, it’s a far more rich and engaging way of writing horror.

As usual, Tremblay is interested in how media and mass culture intersect with personal tragedy and terror. A central plank of the story hangs on the simultaneous repetition and manufactured shock and doom of 24 hours news channels, and the degree to which they tell us anything significant about the world of which we weren’t already aware. There’s actually some fairly deep rumination here about the relationship between media narrative and prophecy, and the ways in which our minds can organize the same information in ways that alternative mundane or profoundly significant.

It’s not like it’s a particularly lonesome or brave opinion, but I think Paul Tremblay is one of the most sophisticated, smart, and engaging writers of horror currently working. “Cabin at the End of the World” is masterfully paced, plays with every tired expectation, and delivers a thoughtful commentary on contemporary mass culture. Brilliant.

by Quentin Lewis

Booknotes: Epidemics and Enslavement by Paul Kelton

Epidemics and Enslavement: Biological Catastrophe in the Native Southeast 1492-1715

by Paul Kelton

Finished 4/18/20

I’ve had this book for years, and have started it a few times, but never read past the first few pages. When the COVID-19 pandemic arrived, I saw it on my shelf and somehow it just seemed the right time. I was not disappointed.

The book is ultimately an exploration of colonialism and its impacts. Kelton is primarily interested in the contstellation of people, objects, and diseases that made up the “Columbian Exchange” as coined by historian Alfred Crosby. He situates himself in the tradition of scholars who have investigated the impact of diseases on Indigenous populations of the Americas, generally glossed as the “Virgin Soil Hypothesis.” The basis of this hypothesis is that Europeans brought diseases for which Native people were biologically or genetically unprepared, and therefore these diseases were especially virulent and deadly. Stronger versions of this argument present the story of European colonialism as a tragic but villainless story in which overall well-meaning Europeans take over land whose inhabitants were already decimated by the diseases they unknowingly carried. Colonialism becames a story whose primary forces are pathogenic, and not based on power, violence, or conflict.

Kelton’s book puts a stake through the heart of this story. The essence of his argument is that the most significant of the Columbian exchange diseases–smallpox–was as deadly as it was because one of the central planks of European (particularly English) colonialism was the enslavement of Indigenous people, and this project spurred greater disease spread, encouraged violence and social dislocation, reduced Indigenous sustenance and nutrition, and broadened the morbidity of secondary diseases that would decrease the likelihood of survival. In short, English attempts to enslave Indigenous people created the conditions conducive to a deadly epidemic, rather than some kind of genetic predisposition or a pure exposure to previously unknown pathogens.

Kelton begins by surveying the disease ecology of the pre-contact period, drawing heavily (and vocally) on archaeological and bio-anthropological evidence. What he finds is that, rather than being some diseaseless eden, Indigenous populations in North American had long exposure to wide range of nasty and virulent diseases, and that they had lived with and socially adapted to diseases over milennia. Kelton also highlights the diversity of impacts that diseases had between mobile and sedentary Indigenous peoples, a key point often glossed over in the generalizations of Native people as all “hunters and gatherers.” Kelton is even-handed in his reading of some conjectural evidence, discussing how complex pathgens like Typhoid and Tuberculosis may or may not have had a pre-Columbian origin point. As an archaeologist who was frequently frustrated with Historians burying important archaeological insights in footnotes, it was nice to see Kelton champion archaeological data as useful.

Kelton then takes this backdrop and explores how Indigenous disease ecology in the Southeastern United States adapted to the first visitors from Europe, namely the Spanish who arrived in 1492 and began to colonize what became Florida in 1513. Under the strong version of the Virgin Soil Hypothesis, Spanish colonists should have brought unfamiliar diseases with them and decimated Indigenous peoples they encountered, but Kelton’s careful reading of historical and archaeological evidence suggests that Spanish incursions into Native space may have exascerbated some pre-existing diseases, and spurred some social dislocation and migration, but that a large-scale strong “virgin soil” type epidemic does not fit. In part, the Spanish were so interested in finding gold and establishing Catholic missions that they managed to keep reasonable distance from the Indigenous people they encountered, prohibiting widespread disease transmission.

However, the English, who arrived in the Southeast in 1607 had a different agenda. English plantations in the Caribbean required massive amounts of back-breaking labor, and the English sought such labor by enslaving Indigenous people they encountered in the Old Dominion and Carolinian colonies of the Southeast. Kelton argues that the violence of enslavement, along with the much more regular, widespread and visceral encounters necessitated by slavery made the transmission of diseases much easier. As the English allied with certain Native groups, participated in slaving raids into the interior of Indigenous lands, and spread a mercantile empire based on debt into the Southeast, they created a network of disease, while also spurring other factors that made diseases more virulent.These included the fortification of Native communities for defensive purposes increasing the likelihood of transmission, increasing starvation which limits the ability of the body to fight off infection and disease, and the taking of women and children as slaves which made population-level replacement of disease mortality much more difficult. This meant that when smallpox finally did sweep through North American in the 1690s, it encountered a Native population that was far less able to resist it due to the social stress of violent enslavement than it otherwise might have been.Kelton even argues that the two violent White-Native conflicts of the early 18th century–the Tuscarora War of 1711-1715 and the Yamasee War of 1715-16 were a direct result of the collision of the explosive trajectories of English enslavement and Euro-Native disease expansion that emerged in its wake.The outcome of these wars was the conclusion of English attempts at Indigenous enslavement, and a turn towards Africa as a greater source of enslaved labor.

I am not an expert in Southeastern Indigenous Culture history, and was a bit overwhelmed by the complex social geography that Kelton sketches. But what he makes clear is that English colonialism and enslavement spurred widespread social disintigration, migration, and coalescing of a myriad of Indigenous communities in the region over the course of the 17th and 18th centuries. Commonly-known contemporary Indigenous communities such as the Cherokee and the Creek emerged as powerful political and social collectives during this time as groups fled raids, sought safety with powerful allies, and found refuge from diseases.

The central theme of the book is that all societies can adapt to and survive diseases (even if individuals may not), unless there is some significant structural force that inhibits their adaptive strategies. Kelton forcefully argues that a Virgin Soil model cannot explain the dramatic depopulation of North American Indigenous people and that we have to take into account the role of slavery and colonial violence in our conception of the Columbian exchange. It’s hard not to see lessons in our handling of COVID-19 in the United States, where we have essentially siloed and defunded public health under a rubric of belt-tightening and cost-cutting, while simultaneously relying on a for-profit medical system that treats symptoms over causes, requires patients to be consumers and customers, and makes systemic health interventions almost impossible.Obviously the contexts (17th century Colonial North America and 21st Century US) are not comparable, but I found myself ruminating on the social forces that structure disease and how diseases in turn impact social structures.

All in all a fascinating and rich book that taught me a lot about aspects of US history with which I was unfamiliar, and gave me a lot to think about regarding health, power, and society.

by Quentin Lewis

Book Notes: The Street of Crocodiles and Other Stories by Bruno Schulz

 

The Street of Crocodiles and Other Stories By Bruno Schulz

Finished 3/29/20

My reading of late seems to consist largely of following up on things I discovered in Jeff and Ann Vandermeer’s Anthology “The Weird” and this book is no exception–Schulz’s bizarre story “Sanitarium under the Sign of the Hourglass” is reprinted there. Ironically, upon reading this collection of Schulz’s short stories, I discovered that I had met the author earlier than The Weird–the epigraph of China Mieville’s masterful “The City and the City” was from Schulz’s story “Cinnamon Shops” :

“Deep inside the town there open up, so to speak, double streets, doppelgänger streets, mendacious and delusive streets”

Schulz is apparently a literary legend in his native Poland, and among late 20th century Jewish authors, scholars, and artists. A figure of the Interwar eastern European Avant-Garde, he was an artist and illustrator of some note, and he wrote two collections of stories (both reprinted here, I believe) as well as a now-lost novel, before being murdered in a power-struggle between two Nazi officers during the occupation of Poland. The two introductory essays in this edition, one by Jonathan Safran Foer and the other by David Goldfarb, helped to put Schulz’s astonishing and complex writing in a historical context for me.

The aforementioned epigraph gets at one of the aspects of Schulz’s complexity that is apparent from the beginning–the animacy of the mundane world. For Schulz, seemingly neutral things are alive or at least animate. Streets can be “medacious and delusive.” Seasons (he wrote a lot about seasons) can mutate humans emotionally and even physically. Mannequins and dummies come to life and try without success to live as humans. Buildings and neighborhoods change and warp as we walk through them. For Schulz, the mundane, material world is in some ways more interesting than the actions of the humans who wander through it.

Schulz’s prose is rich to the point of being, at times, dense. This could be a function of the translation by Celina Wieniewska, but the essays and other writing about Schulz suggest that his lush prose moves across language barriers. Simple declarative or descriptive sentences gradually unfurl into metaphors that build on top of each other by the end of the long paragraphs. A prosaic act like a relative going shopping becomes sumptuously sensual:

On those luminous mornings Adela returned from the market, like Pomona emerging from the flames of day, spilling from her basket the coloful beauty of the sun –the shiny pink cherries full of juice under their transparent skins, the mysterious apricots in whose golden pulp lay the core of long afternoons. And next to that pure poetry of fruit, she unloaded sides of meat with their keyboard of ribs swollen with energy and strength, and seaweeds of vegetables like dead octopuses and squids–the raw material of meals with a yet undefined taste, the vegetative and terrestrial ingredients of dinner, exuding a wild and rustic smell.

This is compounded by Schulz’s probing interest in the psychology and motivations of his subjects, and the relation of those motivations to everyday behaviors or physical characteristics. There were times when I found it difficut to follow, but it was also clear that Schulz’s language  choices were multivalent and brilliantly integrated with the form and plot. Certainly his writing demands respect, even if every single story isn’t always completely captivating or required close reading.

Plot is generally secondary to character and tone, but there are some genuinely interesting and bizarre stories lurking in this collection. The aforementioned “Sanitorium…” is almost a ghost story, where a son goes to find his dying/dead father convalescing in a place where time operates differently, for individuals and for societies. The character of the father grows appears across multiple stories, growing stranger and stranger, becoming obsessed with obscure and mysterious subjects, even physically transforming into different creatures. “The comet” tells the story of an alien visitation that never really takes place, but explores instead the apprehensiveness and alienation of people to its approach.

All in all, a difficult but fascinating collection that rewards slow, invested reading.

by Quentin Lewis
by Quentin Lewis
by Quentin Lewis

Quentin's Weeknotes 2/22/20-2/28/20

This Week:

by Quentin Lewis

Booknotes: A Haunt of Fears by Martin Barker

A Haunt of Fears: : The Strange History of the British Horror Comics Campaign

by Martin Barker

Finished 2/26/20

Tells the story of the British Comic book panic of the 1950s, which, unlike its more famous US counterpart, ended in legislation and regulation.

I have a pretty good grasp of the history of American comics panics, which I largely got from David Hajdu’s “The Ten Cent Plague.” I didn’t know that an equivalent (and in some ways more successful) campaign occurred in the UK around the same time, though it had a very different trajectory, as Barker so astutely notes.

The first major difference was that there was not really a homegrown English comic press in the UK. So most comics came from the US as imports. For early critics of such comics, their US origin was part of what made them problematic. The first major group to criticize such comics was the British Communist Party (!) who decried their “thoroughly pernicious influence” on British youth. Thus, comics were a symbol of the invasion of foreign decadence into a polite British culture and values at a time when the communist party was pushing against internationalism and more towards internal, national growth.

The campaign was later taken over the Comics Campaign Council, which was an umbrella organization that included doctors and teachers (particularly members of the National Union of Teachers). Their criticisms would be more familiar to Americans, as they focused on the violence and crime themes of “horror comics.” However, there was less of an attempt by British campaigners to directly interrogate and critique the content of such comics; in other words, there was no equivalent to Frederic Wertham, the American psychologist whose book “The Seduction of the Innocent” codified a flawed but scientific-minded criticism of horror and crime comics. British Campaigners largely treated the problem as self-evident, though Barker goes to great lengths to show how crime and horror comics subverted the violent and horrific messages that campaigners thought they transmitted to child readers.

Finally, the last major difference is that unlike in America, the British Government responded with a law, the “Children’s and Young Persons (Harmful Publications) Act” of 1954, which made it illegal to publish crime or horror comics. (In America, the Kefauver hearings were called and might have led to regulation of the industry, but the creation of the industry-based Comics Code Authority pre-empted the need for such regulation). No one was prosecuted for the crime until 1970, and though the law is still on the books in the UK, there have been no subsequent prosecutions in the 21st century.

Barker, being a media-studies person, spends a lot of time analyzing the meanings of various crime and horror comics, especially the Bill Gaines/Jack Kamen masterpiece “The Orphan” from Shock Suspenstories, which is reprinted in full in the book. This was less interesting to me than the historical discussions of the actors involved in the campaign, many of which Barker interviewed personally. But Barker also locates comics panics within broader concerns about the rise of youth culture in the UK (and by extension the US as well) in the 1950s, and the anxieties it produced in middle-class and elite adult circles, of which this comics panic was one example.

A really fascinating study that complicated and broadened my understanding of the history of comic books.

by Quentin Lewis

Quentin's Weeknotes 2/15/20-2/21/20

This Week:

View this post on Instagram The Pokemon card tucked in this used copy of M John Harrison’s collection “things that never happen” was delightfully out of place, part of a trail that led nowhere.

A post shared by Quentin Lewis (@whenelvisdied) on Feb 16, 2020 at 6:23am PST

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My son watching classic cartoons in the Museum Classroom

by Quentin Lewis

Quentin's Weeknotes 2/7/20-2/14/20

This Week:

  • I finished reading Matt Ruff’s “Lovecraft Country” and Jeff Vandermeer’s “Wonderbook: An illustrated guide to writing fantastic fiction”. Well…actually I finished Lovecraft Country last week. And…I finished Wonderbook weeks ago. But both books are rich and complicated, and I spent the intervening time between finishing them writing up my thoughts, and taking notes, respectively. I wrote a review of Lovecraft Country, and didn’t with Wonderbook, but suffice it to say, it’s does a few tricks beyond the usual advice proferred in most writing guides, and adds in the extra dimension of astonishing illustrations of concepts, ideas, and approaches. It’s also got great sidebar advice from a who’s-who of great speculative fiction writers. I’ve already made good use of its insights in m own writing and I know I will continue to do so.
  • The Yager Museum held its opening reception for dadibaajimo: Two Mississauga Artists Share Stories. Thanks to everyone who came out, and thanks again to Luke and Cathie for sticking with me on this long wild ride to make this show happen.
  • I taught my collections class about Museum Nomenclature and Condition Reports.
  • I read Valerie Solanas SCUM Manifesto. I did not expect it to be as funny as it was.