in my nightmares I've written something like Ready Player Two.
RPT is...it's like a transcript of my worst self holding forth. It's Kurtz's vision of the horror, the horror. It's cosmic horror. It's Krapp's last tape, if Krapp were written (ironically, of course) by Evan Dorkin as a less aware member of the Eltingville Club. It's leprosy.
I charge Ernest Cline with sedition against the Muses.
It's not even that RPT took a couple of hours from my life that I'm not getting back. It's that RPT replaced those hours with something which taints everything associated with them--I thought about my wife when I read RPT, and now I associate RPT with my wife. I need EST.
A little prolix, as was his wont, but David Foster Wallace described RPT well in INFINITE JEST:
I didn't so much hate RPT as decide it was the Anti-Life Equation. Grant Morrison's Unmaker, the Decreator. Gamchicoth. The effect of the Doug Adams' Total Perspective Vortex, but focused on every reader.
I blame Trump.
• • •
Missing some Tweet in this thread? You can try to
force a refresh
So who wants to hear about the first queer woman sheriff of the pulps?
(Or has everyone bugged out of Twitter to start the gorging process?)
Thread Ho!
After 1924 the western pulps fractured & became gendered--western pulps for male readers, western pulps for female readers. There was significant overlap in readership between the two, of course, but the publishers thought that gendered pulps were the way to go. 1/
Eventually, in 1935, the trend toward western pulps for female readers produced ROMANCE (later ROMANTIC) RANGE. Laugh at it if you like, but RR was in the top 3 of the best-selling pulps, and had heavyweights writing for it and a devoted readership of men *and* women. 2/
Who wants to hear about some obscure Japanese horror movies from 1898-1949?
Trust me, you won’t be getting what you expect.
(Warning for those who don’t like long threads: this is a big one. Mute me for a little while if you don’t want me in your TL too much. Thanks!)
1/
Japanese moviemaking got its start when a Japanese businessman worked with Louis Lumière to import movie cameras into Japan in 1897. Moviemaking had only been a commercially viable prospect for two years, but the businessman knew what available movie cameras would mean. 2/
The first horror film was Georges Méliès’ LE MANOIR DU DIABLE (House of the Devil, 1897). The first Japanese horror filmmakers didn’t really have any models to go on—they were breaking new ground, which was one reason why Japanese horror films showed little US/Euro influence. 3/
Of course (rolls up sleeves, takes off watch and earrings) what makes the Old Guard hate the New Guard isn't just loyalty to Asimov, Clarke, etc.
I see some of the Old Guard's online conversations, you know. Names you'd recognize.
It's not loyalty that motivates them.
They read the New Guard in bad faith. Their interpretations are deliberately hostile. They let their resentment at fading away and their growing irrelevance become the lens through which they read the New Guard. Reading as an act of grievance.
Most of all, it's wounded amour propre at women and BIPOCs taking their place. They are incredibly offended if you point this out, but when they think no one is watching the masks slip.
Sexism and racism and white privilege. That's ultimately what motivates them.
Did I talk about the first lesbian romance & trans happy ending in science fiction yet?
I shoulda saved this for tomorrow, but--
So there's this guy, Gregory Casparian. Not much known about him--Armenian, officer in the Turkish army, came over to the US and worked as an artist, painter, and photoengraver.
They say everyone's got one story in them. This was his.
He writes a novel set in the far future of 1960 in which two women, Aurora Cunningham (British) and Margaret Macdonald (USian), attend the same ladies' seminary and becomes friends and more than friends.
The novel's got some social & technological anticipation in it--it's sf.
As far as I know, mystery fandom--mystery fans--don't tell you that the only way into the genre is through Agatha Christie and Raymond Chandler, though of course fans of both want you to read the works of both authors.
New romance fans aren't gatekeeped w/Georgette Heyer & Barbara Cartland, though if the newbies haven't read either they'll be told how good both authors' works are.
Nobody in horror tells a new arrival that if they haven't read Oliver Onions or W.F. Harvey they aren't real fans
Over in the mainstream/realist genre (yeah I said it), reading mainstream authors from the 1930s will get you laughed at by fans of, oh, Franzen.
It's only SFF in which the genre's founding fathers (never the founding mothers) are used as clubs against new fans.