Showing posts with label Sarah Kane. Show all posts
Showing posts with label Sarah Kane. Show all posts

18 August 2013

A Decade of Archives 9: 2004

This is the ninth in a series of posts leading up to this blog's tenth anniversary on August 18. In each post, I look back on one year, sometimes specifically and sometimes generally. All the posts can be found here.


2004 was the first full year of The Mumpsimus. It was also the year with the largest number of posts: 319. (These days, I'm able to get out about 100 or so in a year.) And it was the year when a relatively large number of people began to notice what was going on here. That initial attention is what made me think this was not, perhaps, just a useless lark. A lark, yes, and largely useless, yes, but maybe not completely so...

The year began with a post about returning: I hadn't paid a lot of attention to the site at the end of 2003, having written one post in December and none in November. The first paragraph of that post indicates that I was still thinking of this as a site about, primarily if not exclusively, science fiction. The reason for my absence, I said, was, "my life has been busy and I haven't been reading nearly as much SF as I would like."

I made up for the absence quickly, with numerous posts, some of them with real substance. The first was a comparison of Sergei Bondarchuk's film of War and Peace with Peter Jackson's Lord of the Rings movies. The rest of January 2004 covers most of the major topics that the site would continue to explore for the next 9 years: a review of a novel by a writer not known as a genre writer (Genesis by Jim Crace); a plea for a writer who deserves more attention (Judith Merril); a naive but (surprisingly!) not entirely embarrassing post on sexism and reading; somewhat literary theory-ish posts on characterization and narrative (which, despite their naivety — my education in lit theory was entirely autodidactic [read: haphazard, shallow] at that point — are still recognizably in the direction of ideas I now hold); a review of Lucius Shepard's extraordinary 9/11 story "Only Partly Here"a look at Tim Burton's movie Big Fish; a mention of one of my favorite writers, David Markson; and, finally, a post that mentions Samuel Delany's Dhalgren in the context of a discussion of the baleful influence of the 3-act structure for screenplays. Clearly, it was winter in New Hampshire and I needed something to keep my mind occupied other than just teaching high school!

The rest of the year goes on in a similar manner. I hadn't look back on it all until now, and was a bit scared to — I haven't been thrilled with a few of the later years on the whole, so had no reason to assume the earliest years were of any value whatsoever. There's drivel, certainly, but also good stuff, at least in comparison to a lot of what came later.

13 November 2010

Security, Causality

We make fiction for the same reason as we make buildings: security. Rigid notions of causality in fiction have developed as shelter from a fear of the unstructuredness of actual events. Few societies have been more afraid than ours of losing a status quo that was illusory in the first place.

--M. John Harrison

27 April 2009

Blasted Horrors

My latest Strange Horizons column has been posted: "Blasted Horrors". Subjects this time around: horror fiction, libraries & children, Stephen King, Sarah Kane's Blasted, Robert Aickman. (For my previous thoughts on Kane, see this post.)

I thought about dedicating this column to Rick Bowes, who went to see Blasted with me in New York this past fall. It's not the sort of play you can invite just anybody to go see with you. Rick was a good sport about it. Then he reported me to the police.

I'll also note that yes, as of right now there is a problem of verb number and agreement in the second sentence. Entirely my fault. I'm terrible with even simple arithmetic. Among the wonders of online publication, though, is that such things can be fixed...