Showing posts with label Fantasy. Show all posts
Showing posts with label Fantasy. Show all posts

Saturday, November 19, 2016

How Will Humanity Lift Itself Out of the 2nd Dark Age? No. 2 in my New Series of Mythmaker Posts

PHOENIX
from
https://pixabay.com/en/phoenix-bird-legendary-mythical-1301889 
I don’t want to waste effort reviewing all the things that went wrong on Earth during the 21st through the 24th centuries, since you can read about that in the above summation of My Future History.  I will only say that the effect of “radiant” bombing and also of an uncontrollable new weapon invented by the Techno-Warlords – a pseudo-organism called a self-replicating nanobot – put the finishing touches to the destruction in the period called the Apocalyptical (last half of the 24th century).  At that point much of Earth became uninhabitable, leaving only a gaggle of disconnected entities, with some areas remaining less damaged than other (the British Isles, Australia, Japan, portions of North America and other continents).  These areas existed in isolation, without the ability to trade or even communicate with other parts of the world, and they were ruled mostly by tyrants who jealously guarded whatever remnants of technology they could glean.  There was no longer an internet and most libraries and seats of learning had been destroyed.
So how could any vestige of civilization and knowledge be kept alive?  Here the easiest thing to do is to quote from My Future History:

“Throughout the Second Dark Age there endured a minority of people who valued reason, compassion, freedom, and order and who never entirely lost their faith in human nature.  Overwhelmed by the misery of the time, these people had to go underground, communicating by a primitive shortwave radio relay network in places where parts for the equipment could be fabricated or scavenged.  These people had acquired a name: the Underground Archivists, composed of teachers, writers, librarians, scientists, and information technicians.  ... The Archivists took inspiration from works of 20th century Fantasists like Fahrenheit 451 and The Mote in God’s Eye and began to collect and secrete any knowledge of the past that seemed to them useful for the future.  They would hide books or any format of compressed electronic information that they could acquire; they would even scrounge pencil stubs and stray scraps of paper from old middens and copy out by hand material they thought worth preserving.  They placed their hoards in any container that they thought might protect them – oil drums, shell casings, coffins, the husks of now-useless refrigerators and electronic devices – and hid them in old bunkers, caves, bank vaults, abandoned subway and utility tunnels.  Then they died, leaving their caches behind for subsequent generations to rediscover.”

This is why you’ll find passages in The Man Who Found Birds among the Stars like this one (from the incomplete second part):

 “Robbie sprawled on the couch and started scrambling idly through the links.  For a while he listened to GovNews’s daily review of the contents of the most recently discovered Underground Archivist caches; the wide-ranging nature of what those remarkable people had thought worthy of preservation never ceased to fascinate him.  This time there were 22nd century maps of a Devastation Zone city called Atlanta, along with the blueprints of some of the commercial buildings built in that era.  There were photocopies of a dozen 20th century publications called “comic books” (although the commentator noted that the name was mystifying, since the content of these works of graphic fiction appeared to consist almost entirely of depictions of horror and violent crime, with very little humor).  In Nipon a collection of vids had come to light illustrating an incredibly grotesque sport called sumo, accompanied by a book detailing its history and rules.  And there was a unique vid that had bioscientists quite excited; it showed the extinct three-toed sloth moving through a sector of the Amazen rainforest that was now a dry wasteland …
“And, unearthed in an archaeological excavation that was ongoing in the Safrisco salt marshes of the West Ammeriken Coast, an especially significant historical find – original records from the late 23rd century detailing the last days of an institution called University of California.  The cache included a five-year diary written by the last Chancellor of the University.  The journal ended abruptly at 22 March 2290, the day when the series of earthquakes had commenced that brought an end to civilization on the Ammeriken Pacifik Coast.  The Old Ammeriken States had been facing continental civil war at that time and no resources were available to rebuild anything destroyed by natural calamities.  It was all prime stuff.”

But there was more to the salvation of civilization than simply the preservation of data and artifacts.  Among the ranks of the Archivists were some inspired, genuinely creative individuals who chose to produce a new canon of literature and other art forms that could form the basis of a new. humanist ethic.  Not a single one of these creators ever signed any of their works so they remain eternally anonymous.  Their works were preserved by the Archivists in the same way that more prosaic knowledge was preserved – in those secret caches. 

The writers of these works came to be known as the Mythmakers.

I have a lot of information on the Mythmakers in the documents where I preserve notes for my writing.  What they wrote was mostly fantasy fiction or variations on fantastic themes, but they also composed poetry, dramas, and music, and produced graphic art.  On Facebook I recently viewed Ursula K. LeGuin’s acceptance speech when she was awarded the National Book Foundation’s medal for Distinguished Contribution to American Letters. In it she “explained how authors, especially fantasy writers, have a special opportunity to stand up to the corporate system because they can portray a world very different from the one we currently live in.”  I think the same is true in a broader sense – that fantasy writers have a special opportunity and even obligation to influence the way we think about the fundamentals of our lives.  They can become the Mythmakers of our future.
The 26th century, when civilization was coming back to life, was a time of vigorous philosophical ferment.  By the 27th century, the Mythmaker’s humanistic philosophy had taken root, and a set of 20 Precepts had been formulated, not as prescriptive laws or commandments but as a rational guide to right behavior.  People accepted this new way of thinking and this enabled the unification of Earth, which had proved impossible in earlier times, and hence qualified Earthers to attempt to fly to the stars and take their place in the greater Galaxy.  So perhaps the Second Dark Age will be worth all the losses.


So what are the Mythmaker Precepts all about?  Next time, we’ll begin an analysis.

Link to earlier post in this series:



Tuesday, February 2, 2016

Realism and Fantasy - How My Writing Has Evolved


   
FREE on Smashwords
    I've been comparing my enthusiasm levels between the present day and November of 2011 when I first started to self-publish.  I have to say that in those four years I've lost a lot of stamina and certainly a lot of enthusiasm for self-promotion.  I assume my encounter with chemotherapy last spring is partially responsible for that.  Still, I intend to keep going -- nibble away at forming a larger fan base as best I can.  I wouldn't know what else to do.
      I've also become more aware of just what kind of literature I write, and I don't mean cut-and-dried genres.  I think I've lost my taste for typical heroic fantasy.  Elves, ogres, dragons, evil sorceresses, superheroes -- unexplained magic in general -- don't seem to appeal to me these days. I prefer the dark recesses of human (or perhaps one should say, sophont) psychology. 
    When I got my new computer, I added a printer/scanner with OCR capability, and I've begun entering a work I wrote in the 1970's which I liked a lot at the time, and which is standing up fairly well so far.  And I discovered that even in the early days when I was more under the spell of Tolkien, I never was really completely comfortable with the whole heroic fantasy panorama.  My very first endeavors were quite Tolkienesque.  They included a race of immortals, with a wizard very much like Gandalf, white beard, staff, and all.  They also included a villainous Sorceress who wreaks havoc on the lives of the main characters.  That story went on and on but never really developed into anything I will ever be able to publish.  
       But the way I described it at the time was "realistic imaginary world fantasy."  I considered that this was what Tolkien was writing.  My writing included magic, but I never really was comfortable with something that can't be explained by natural processes.  
       But then I turned from that and wrote Children of the Music, the book I'm currently scanning. It's a prequel to the big earlier piece, and it doesn't really include magic.  It's a world like our own, with overtones of the supernatural.  This is a setup I still use.  My termite books include a lot about Seers' prophecies -- certainly supernatural happenings -- and a descent into the Underworld, which is a requisite element of any retelling of epic myth.
     However, I always leave wiggle room.  When Ki'shto'ba and Bu'gan'zei return from the World Beneath, the Companions have an argument about whether what they experienced was real or a dream.  The three rationalists in the group -- Di'fa'kro'mi, Wei'tu, and Za'dut -- never become completely convinced that it was real.  They think it was a vision induced by drinking from the Pool of Memory.  They point out that the King of the Dead never answers any question where Ki'shto'ba could not have already held the answer in its mind.
     Anyway, I discovered that I wrote in a similar way back when I started.  Children of the Music is laid in an imaginary world for sure, one that includes elements of the supernatural -- a holy spring, a people who are simple and good and who live in the flow of the Music, which symbolizes the basic holiness of all life and time.  Unfortunately, however, reality always has to intrude.  Nothing so wonderful as the Siritoch people can last forever.
       Now when I was writing about this world, something else bothered me.  It was vaguely meant to be on a different planet, but it was exactly like our own world -- the geography, the plants and animals, the pastoral lifestyle, etc.  I hadn't fully developed the constructed world (conworld) mentality.  I had not at this time begun writing conlangs, although the book includes an extensive naming language, with a couple of words of the Siritoch tongue translated (Thran, the name of the village, means "bald," from a nearby treeless knob of land; and Wal or Walanath means "Grandfather" or "Grandpapa").
      By the time I abandoned that world completely and went on to Ziraf's World depicted in "The Blessing of Krozem" (FREE on Smashwords), I had begun constructing a milieu much less like Earth. Everything is blue, there are two moons, there are spirit beings that live alongside the humans, and there are four gods who control everything that happens.  I also worked more on the language, although it still consisted of simply a vocabulary with only minimal grammar.  But the basic premise of a realistic depiction of an imaginary world was still there.  And dealing with the dark recesses of human psychology was a major element.
      After I started writing again in 2000 after a hiatus of 17 years, I turned to science fiction.  The worlds have to work on scientific principles, even when elements  of the supernatural are included.  And I became interested in future history -- how is the civilization of Earth going to evolve?  I've never liked dystopian stories much, so even though I gave Earth its Second Dark Age, I also used the optimistic ploy of allowing humanity to rejuvenate itself and come back more rational and stronger than it had ever been.  No magic here!  But still I leave room for the supernatural, particularly when I write about other planets.
       And so we come to The Man Who Found Birds among the Stars, which I'm going to be working on simultaneously with Children of the Music.  It's definitely science fiction, laid on 28th century Earth and dealing with space travel, but it occasionally includes hints of the supernatural, and it definitely deals with the dark recesses of the human mind.

Four of my ebooks are on sale for 99 cents
through Friday, Feb. 5, 2016





Tuesday, July 21, 2015

The Blessing of Krozem: Great New Review of a Free Novelette

       

       I'll bet a lot of you have forgotten I have a perpetually FREE novelette over on Smashwords   Its title is "The Blessing of Krozem" and while it's been downloaded almost 600 times, I have only four reviews.  Give it a try -- according to the latest review, it's worth reading!  And another review is always appreciated!
       Here is the new 5-star review:


       A wonderfully fantastical world is brought to life by the author Lorinda J. Taylor. A rich descriptive narrative evokes a strange world inhabited by mortal humans, and immortal Troils. The reason why the Zem’l made the Troil live forever and not the humans, is steeped in mythology and the dreaming of Zem’l. 
       This is a very intriguing story about the need to live longer than you should, that kept me reading on. It is quite a philosophical story at the core, as well as being an entertaining fantasy read. Great use of language and interesting names help to place this story in a fantasy world. 
       A very well-written short read with a deeper, more involved theme to it than most fantasy works I have read. Internal struggle, greed and pathos are all present here. Such universal themes only add to the pleasure of reading this novella. The author has a gift for prose and I highly recommend this book to anyone who enjoys a good story beautifully written. Lovely cover illustration by the author too. I would have loved to have seen more of her drawings in the book.


       The review is by Nikki McDonagh.  You can find her books at this Amazon link.

Thursday, September 25, 2014

Can a Humanist Write Fantasy in Good Conscience?


The Goddess Durga
The Highest-Mother-Who-Has-No-Name
with her star nurseries
      















When I first started this self-publishing effort, I happened to make the acquaintance of an indie author who was a convinced atheist.  This writer abjured fantasy in all forms because of the underlying premise of magic, which assumes a spiritual foundation not grounded in science.  This writer would read science fiction, but  only if it omitted all non-material assumptions.  Since then, I've encountered other atheists who seem to feel the same way.  The most convinced atheist is a fullblown materialist and simply can't allow for anything unexplainable by science.
        Those of you who may have followed this blog since its early days will remember that I'm a humanist. Humanists are by definition supposed to be atheists, but I reject that appellation because my view is more that of the agnostic -- I reject the notion that it's possible to know anything about god or gods, but I leave the possibility open that something beyond the explanatory ability of science might exist.  
       So how does one define belief?  I define it as conviction without proof.  A convinced religionist "believes" that he/she knows the truth, but the fact is that there is no way to prove if that person is right.  A convinced atheist "believes" there is nothing spiritual anywhere, but he/she has no proof, either.  That's why I reject dogmatism (of either the religious or the atheistic variety) and view it as the source of countable wars and evil acts committed against the best principles of right behavior (what I call the Right Way) that are embedded (along with the capacity for evil) in the human consciousness.
       I see humanity as having the capacity to fix things on their own without the intervention of gods, and that is what I mean by humanist. However, while many humanists are atheists, I call myself a spiritual humanist.  I simply state that you cannot know the truth about what might be beyond the ken of science.  Therefore, I have no problem with belief in itself.  My problem is  with those who believe so strongly in their rectitude that they want to force their belief on the whole world,  either through conversion (under corecion if necessary) or by  eliminating those damned recalcitrant sinners, individually or through warfare.
       Consequently, I can enjoy fantasy -- stories with spiritual or magic elements in them -- and I can write such stories.  (And I want to add parenthetically that I realize not all atheists reject fantasy; some simply accept the role of the imagination in human endeavors, suspend disbelief, and enjoy themselves.)  All of my books include some spiritual elements.  I can write in The Termite Queen about a future history of Earth that has rejected religion and lives by the humanist Mythmaker principles, but in the same book I can write about a termite planet that has Seers who are in touch with a Mother Goddess who lives among the stars.  And I can conclude that book with references to Christianity, which I think not everybody who has read the book has recognized.  Kwi'ga'ga'tei the Seer takes the sins of the universe on herself (TheWound That Will Not Heal) and atones for them.  The myths of all religions can be adapted for many purposes.
       Similarly, in the series The Labors of Ki'shto'ba Huge-Head, I retell (among other epics) the Song of Roland.  When I was rereading it in preparation for adapting it, I was struck by how in medieval times both the Christians and the Saracens called each other infidel and how we're still fighting that useless war today -- a war over disparate "truths" neither of which can ever be proven.  So I made the Marcher Shshi and the People of the Cave to be at war with each other over the "truth" of whether the Highest Mother lives in the sky or in the ground.  In the beginning Di'fa'kro'mi the Remembrancer is rather shocked, because he has never encountered any form of worship other than of the Sky Mother, but as time passes, he comes to realize that it doesn't matter which way you perceive the Goddess -- what matters is the way you behave toward your fellow "humans" and how you honor the principle for which the Goddess stands -- in a termite context, the rare and beautiful procreative principle.  I think all this is quite pertinent to our own sad times. 
       My WIP The Man Who Found Birds among the Stars is much more a work of literary science fiction than it is a fantasy and it explores the nature of the humanist future of Earth more fully than I had space to do in The Termite Queen.  But even in MWFB there are elements of fantasy.  We see how religion has evolved into remnant communities that are sanctioned by EarthGov as long as they keep their worship private and don't proselytize.  In some cases Enclaves are chartered by EarthGov, in which communities of religionist believers can operate openly, again as long as they remain within the Enclave boundaries and keep the rules established in their charters. 
       However, I also investigate what might exist in the unexplored reaches of space.  Could there be something unexplainable out there, something that might not want us entering its domain?  Or is the entity only a figment of a disturbed mind?  This is mostly developed much later in the book, but I do have one reader of my unfinished opus who really likes the book but who, as an atheist, has complained that he would perfer I stuck to the scientific, no matter how fanciful my science is, and omit anything spiritual.  Well, I can't do that.  The concept of the spiritual is deeply embedded in the psychology of the intelligent being, and much of the wonder that exists in our lives comes from things we can't explain. 
       I constructed my future history around a group of 20 ethical precepts called the Mythmaker Precepts.  You can read my earlier posts on the topic here under the label Mythmakers in the sidebar, but it's best to start with the first one, Who Are the Mythmakers and Why Do They Matter? and then proceed through the series. The instinctive impulse toward belief  is embodied in the myths that humans devised to explain the world in a time less versed in scientific methodology.  I see fantasy as modern myth (I've stated elsewhere that most significant fiction has an element of fantasy within it [see Defining Fantasy according to TermiteWriter]).  Those myths become metaphors for important moral and ethical considerations; they clothe the deepest insights of modern man in wonder and give those insights a psychological and emotional foundation.  They can teach us and move us and appeal to our deepest selves.

Virgin Mary, Folk Art, Peru
19th century
http://www.arttoartpalettejournal.com/2011/04/exhibit-is-a-us-first/
      

Tuesday, March 26, 2013

Mythmakers: Some Responses to a Comment

       I've had some interesting comments by Neil Aplin on the earlier Mythmaker posts (see the comments here) and I need to respond, so here goes!  It was about time I wrote a new Mythmaker post!  This is rather hastily composed, but I'm going to post it today anyway (without a serious proofread).

       Mr. Aplin writes: "Just because man’s internal sense of right and wrong doesn't preclude the supernatural, it doesn't necessarily mean that the supernatural must therefore exist." 
       My response: Neither I nor the Mythmakers say that man's ability to discern what is right proves the existence of god or the spiritual, only that there can be no proof that god or the spiritual doesn't exist. That is Precepts No. 1 ("No one can know deity; neither can it be proven that it does not exist")
and 3 ("Since the purpose of deity for humans, or even whether it had a purpose for humans, is unknowable, it is incumbent upon humans to look within themselves and find the way to right action"). 
       I refuse to be a full-blown atheist, because I think a lot of them to be just as closed-minded and bigoted as the most hot-headed religionists. I find Richard Dawkins to be like that.  I don't even particularly like the term "agnostic."  These terms suggest fixed beliefs with no room for growth or development or change or novelty -- the very opposite of scientific! It seems to me that there will always be something beyond what science can teach us -- beyond the Big Bang, beyond what came before what came before that -- but we will never know its nature.  Therefore, it could come in any form.  That's why  we can write fantasy.  A true atheist couldn't write fantasy because it would go against his belief in the supernatural.  It would be a travesty to have spirit beings or gods working miracles in a book.  A true atheist should have a big book-burning and get rid of every allusion to anything spiritual that has ever been written.  Throw Tolkien on there, because his elves cannot be scienfically proved to exist!
 
       Mr. Aplin quotes me as saying "Myth and gods are .... a truth, which the individual recognizes by some instinct built into the genes."  But the full text of what I said is this: "Myth and gods are not science; they are faith-based. But by that very nature, they can't be proved to exist; they can be neither denied or proved true or real. They can only symbolize a truth, which the individual recognizes by some instinct built into the genes." "Symbolize" a truth is different from saying they "are" a truth.  When symbols are used, as in poetry or literature -- or myth -- it gives us a deeper insight into what is reflected or embodied.  By "built into the genes," I'm talking about the need of the evolved human brain to explain the world in which it finds itself.  I remember reading somewhere that there may be a genetic component to this need.  Non-human creatures don't seem to be able to explain the world through symbols or to have a need to do so (well, bower birds do have a certain artistic capability!) 
       Gradually these primitive symbolic explanations (such as Zeus hurling thunderbolts) become replaced with scientifically provable facts.  But again, there is always that point beyond which we cannot go.  Therefore, we can write fantasy or construct mythic systems -- we can satisfy our need for symbols by embodying the unknown in our personal creations, and by gaining deeper insight through those creations.  I consider all religious writing to be mythic in nature, including the Bible (or perhaps especially the Bible).  I'm not against religious myth; I'm only against dogmatic religious institutions that proclaim they have the one and only Truth and want to force the entire world to believe as they do.
       So -- maybe infinitely huge entities exist, inhabiting a plane of existence or a dimension we can't even conceive of (see my short piece "A Little Laboratory Work"), playing soccer with comets and using the entire universe as a laboratory.  Maybe malevolent beings lurk out in deep space -- beings who don't want us out there (that's in my Man Who Found Birds among the Stars).   
       And maybe there really is a big Termite Queen (see at left) who fills up the sky with the mighty creative force of her belly, lays the stars from her ovipositor, and occasionally meddles in her creation.  I can have this Goddess talk to the Seers among those who worship her, even though Earthers have become humanists and don't believe in her or any other god.  Or maybe humanity believes more than they realize.  Decide for yourself after you finish v.2 of TQ!

This is enough for now.  I've only touched on Mr. Aplin's remarks.  I'll get back to more of them at another time.








Sunday, January 6, 2013

I Began My Writing Career Fascinated by the Concept of Immortality

       ATTENTION ALL!
I JUST MADE "THE BLESSING OF KROZEM"
FREE

       After I read Tolkien back in 1969, I thought about his Elves and how they were immortal, and I became fascinated by the question, "What would it really be like to be immortal?"  If you belonged to a race of beings who never died, or who could die only under certain circumstances?  And I began to write about an imaginary world where this situation existed.  It was a Tolkienesque type of high fantasy, realistically portrayed; it included sorcerors and paid little attention to scientific realities.  However, the world wasn't ruled by magic but more by supernatural occurrences or qualities, and it wasn't very well thought out.  I'll discuss what I tried to do in these stories in a later post.  Suffice it to say it became overgrown and I rewrote the original story two or three times and got absolutely confused and didn't know what I was doing any longer.  However, I did produce a couple of novels laid in the world of the Demrai, Epanishai, and Siritoch that weren't so bad, and might be worth resurrecting.  I'll talk about that world in a later post.
 
       After I gave up on that neophyte undertaking, I still couldn't get the concept of what it would be like to be immortal out of my consciousness.  So I invented another fantasy world -- Ziraf's World --where Ziraf the god of the world (the Ultimate Dreamer) appoints seven subordinates (called the Zem'l, Ziraf's Dreamers) to create the world.  This world had a predominant color -- slate-blue or slate gray -- and it contained animals, humankind (mortals), and Troil (shape-shifting spirit-beings who didn't die, who had no flesh-bodies, and who inhabited many different aspects of creation such as streams, trees, stones, the wind, the clouds -- just about anything you can think of).  These Troil (sing. Troi) were always hanging around, sometimes simply observing, sometimes behaving mischievously or at times beneficially, and sometimes communicating with humans and giving them advice (dubious on occasion -- you should never completely trust a Troi!) 
       Into this world emerged Gilzara, the aging Shrine Guardian who has the ability to summon the Zem'l and ask for answers to questions or present petitions.  And someone puts the idea into the old man's head to ask Krozem the Dreamer of Humankind for immortality.  After all, the Troil are immortal -- why shouldn't humans also be so favored?
 
       I wrote a novel called The Blessing of Krozem about this world.  It was to be the first volume of a series called The Wizards of Starbell Mountain.  Just now I looked at the manuscript (typescript).  It was about 87,000 words and began with a preliminary chapter or prologue called "The Gift."  I also turned this prologue into a short piece, 8500 words, which can be called a novelette, I used it to send to publishers as a sample chapter.  I got a little encouragement, but not quite enough.  Then my life situation changed and I stopped writing. 
       Now I've published the prologue, retitled "The Blessing of Krozem," as a 99-cent ebook on Smashwords.  I'm hoping that some of you would decide to buy it and give it a try.  I don't have a scanner (will I ever get one?  Who knows?)  If I do, then I will scan some of my early books into the computer and decide whether they are worth publishing.  So please do read the opening novelette and let me know if you would like to learn more about the world of the Kairam and about what happens to the Priest Gilzara after he receives "The Blessing of Krozem." 
      
        
       Above is the cover to the novelette.  That's the Troi Wagmi sitting on his stone in the middle of the Mistgel River.  He's a water Troi, with weedy eyebrows.  His head is hollow -- you can see the background through his mouth.  I don't particularly like the way he came out -- I'm not good with any kind of figure drawing, even of creatures who lack bones or prescribed forms.  That's a rock Troi at the lower left and the wind Troi Murush at the upper right, against the trees.  And that's the Starbell Mountain in the background and Emtash's fastness at the upper left.  Click on the picture for a better view.