postmodernism – Page 2 – Lights In The Sky

Blog entry supplemental eleven: farewell Brian Aldiss

By C Stevens | 29th August 2017 | Comments 0 Comment

Rather presumptuously, about two years ago I contacted the great man via his website suggesting that he might be able to help me, and directing him to the Lights in the sky opener, serialised on this website. I acknowledged my debt to him and the role Billion Year Spree played in my autodidactic study of imaginative literature, leading eventually to my writing it!

Whether he ever got to read the message I don’t know, but somehow I doubt it, assuming it to have been intercepted by one of the gatekeepers supervising his website, but I never received an answer…

Like a lot of SF fans of my generation I came to Brian Aldiss through the short story collection Space, Time and Nathaniel, before moving on, to The Dark Light Years, Cryptozoic, and eventually Hothouse! Aldiss was clearly a better writer (in purely literary terms), than my other favourite of the period, Philip K Dick (as he would prove with the incomparable Helliconia Trilogy), but stylistically he now seems to belong to another age. The films made from his stories weren’t that successful and are now never shown (with sole exception of A.I., made from his short story Supertoys Last All Summer Long), and fit much less well with the anxiety-ridden postmodernist world we find ourselves in , a milieu that Dick inhabits perfectly, and appeared to anticipate!

His SF scholarship tried (unsuccessfully) to force the literary world to take the form seriously, but in vain, and Billion (later Trillion) Year Spree’s only real fault is that it contains no appreciation of his own work!

R.I.P. then, Brian…

C.E. Stevens August 2017

Blog entry supplemental nine: the wheel is turning

By C Stevens | 27th June 2017 | Comments 0 Comment

Apologies for not blogging for a while; but I’ve been away, in America, in fact! This was a road trip I took with my mate, Rob… We both play music and we’ve played together in various bands for the past twenty years; so this was a musical odyssey!

We flew to Chicago and proceeded south, mainly (but not exclusively) following the path of the Mississippi… I did the driving (to St Louis, Missouri, Nashville, Memphis, Natchez, Mississippi, ending up in New Orleans); the total distance is not far short of 1500 miles and I did that in nine days, driving on alternate days…

So what’s this got to do with SF and the Lights in the sky series, I hear you ask? Well, I’m getting to that!

The trip was a chance not only to visit and pay homage to old musical heroes and discover new ones (Rhiannon Giddens and Gary Clark jr. at the Chicago Blues Festival were particularly memorable!), but also a chance to get away from my life; away from the writing and away from my claustrophobic little island!

I completed part two of The Leftover Girl, just prior to leaving and I’m thus between two thirds and the three-quarters of the way through the book. The first two sections are called The Road, and …to Hell, and the final part will be called …paved with good intentions, so you probably get the drift…

Time away from a work-in-progress is important because it helps give you perspective, vital for a writer. I re-read the section I’d just completed on my return in preparation for starting on the final leg of the literary journey; and I realised something that, although obvious, just hadn’t occurred to me in the rush to complete part two of the book before my departure. The revelation is that the second character in my novel, Dr (later Professor) Helen Choi, ends her life in despair; concluding that she has been in error, pursuing false scientific goals and denying her essential nature. She has lived her life in maya, the world of illusion, effectively denying her own spirituality… She dies hoping that when she meets her husband (‘…in whichever version of the afterlife she is bound’), he will find it in his heart to forgive her…

The second conclusion I came to (the start of this came while watching the aforementioned artists in Millennium Park, Chicago), was that after three terrible years things are finally moving in our favour once more… Chicago Blues was important because I was disillusioned with music (which for a songwriter is my own version of despair!).

A bit of context is needed here! For those of you unfamiliar with the form, blues festivals in the UK consist of a few hundred (mostly) blokes my age or older, standing ‘round drinking real ale and watching acts even more ancient than they are!

Chicago was different; the first thing we saw (the Blues Village stage), was just like UK blues festivals, and we nearly left at this point! But I looked at the flyer and saw that Rhiannon Giddens (for Christ’s sake!), was performing on the main stage and she was just about to start! For those of you who don’t about her she’s immensely talented as a writer and performer, utterly beautiful, from North Carolina (my favourite out of the twenty seven states of the Union I have visited!), and the possessor of the best voice God ever gave a woman!

We moved to the fantastic open-air auditorium in Millennium Park (think Frank Gehry’s Guggenheim Museum in Bilbao!), and were presented with at least twenty thousand people in the open air-bowl that forms the arena! And these people weren’t old gits like me and Rob, they were young people, of all races, who love music that most young people in my country wouldn’t be seen dead grooving to… The reaction to Rhiannon Giddens was ecstatic enough, but that was nothing compared to the welcome they gave to Gary Clark jr, the new Jimi Hendrix, and someone I hadn’t even heard of !

Not only did this restore my faith in music, but I realised that things in general are changing! It’s not just music; Jeremy Corbyn’s popularity with young people in the UK (as evidenced by his reception at Glastonbury!), the totally unexpected election result, the retreat of Fascistic populism everywhere etc etc

The wheel is indeed turning; favouring authenticity rather than artifice; art rather than commerce; individual expression rather than Simon Cowell-mentored posing; idealism rather than self-interest!

Finally, we seem to be throwing off the twin dead hands of Postmodernist ‘irony’ and neoclassical economics, and discarding the appalling cynicism they engendered…and it occurs to me that this can only be good for me personally, because the type of fiction I write may even come back into fashion…

I talked about the zeitgeist in a previous post; well, I think its just shifted…

C.E. Stevens June 2017

Blog entry supplemental six: The leftover girl

By C Stevens | 3rd February 2017 | Comments 0 Comment

As I’m now more than one hundred pages into the prequel to Lights in the sky, currently called The leftover girl, although this may change (mainly because the ‘such and such girl’ as the title of a novel has become something of a publishing cliche in the last few years!). If it does change it’s likely to change to The leftover world which is also apposite. One decision I have made is to use my SF non de plume C.E. Stevens, rather than Stephen Clare. This is practical reasons as I can continue to use this website, and I am less likely to confuse potential readers.
As I’ve probably said previously the new novel is written in a mainstream SF style with magical realist elements, and is set entirely on Earth. It has three narrative strands; opening with the story of the protagonist as an adult, continuing with a flashback to Tata’s childhood and adolescence, and then the third strand which follows the life of a third character, Helen Choi.
The Tata narrative dramatises life in Brazil, and by extension throughout the world, following the Collapse (a breakdown of civilisation resulting from climate change and resource depletion). Helen’s story is essentially the story of the Alpha Mission.
The book thus tells the story of Earth in the run up to the departure of the Alpha Mission probe, and what happens afterwards!
There obvious crossovers both within the book, and between this book and Lights in the sky. Tata knew Mrs Choi when she was a child, but never knew why the old woman had taken an interest in her. Her quest is geographical (to reach the fable ‘free communities in Amazonia), but also spiritual (to discover the truth about her own life and origins).
Both characters appear in Lights in the sky, although Helen Choi is only referred to (by Han, she’s his role model!). Tata appears on three separate occasions; twice in dreams/visions experienced by Marta Fernandes, and finally in a chapter of her very own!
One possible strategy I may employ is to use this chapter (The Jungle) as part of the text at the appropriate point in the narrative, which a nice exercise in intertextuality.
My intention is to post the first chapter of the novel on this website on the near future to act as an introduction, once I settle the question of the title!

Blog entry nineteen: Recovery

By C Stevens | 4th December 2016 | Comments 0 Comment

In chapter nineteen we’re back in the real world with a vengeance, and the consequences of Marta’s willfulness have become apparent…
The scene in the desert owes much to Wim Wenders classic arthouse film Paris, Texas, and the line ‘…her eyes fixed on her own far horizon’ is adapted from the lyrics of a song I wrote in the 1980’s while under the spell of that particular movie.
The landscape of Alpha 5 again becomes a character in its own right, with the scale and implacability of the landscape contrasted with the insignificance, frailty and sheer ephemerality of individual human lives.
A friend of mine recently said to me, ‘…I wish we could all go to your planet!’ and she hits the nail on the head, Alpha 5 is a means of escape (for me as much as anyone!), from a scary and increasingly hostile world; but I would like to make the point that although A5 is a refuge (both metaphorically and literally!), the ‘real world’ is still presented in this novel (most notably in chapter twelve), and the likely future consequences of our present actions are laid bare…
But this, after all, is the role of science fiction (or it should be!), the genre providing an escape from the real world, while at the same time commenting on it…
We can also glimpse the power relationships within the world of the Children, and it is clear that (in the absence of Marta) Priya, although the youngest, is the dominant personality.
The first two sections of Recovery are a fairly conventional search and rescue drama, but what surprised me is how much it moved me when I was re-reading it for the purposes of online publication. The eagle-eyed among you will have noted that Priya uses an outmoded version of CPR when reviving Marta after the rescue ’plane crash-lands. This is because the chapter was written before the new guidelines emerged; I’m minded to keep it that way, it’s my world after all!
In section three we return to the subjectivity of Marta’s unconscious mind. In essence this is a continuation of Sleeping Beauty; our heroine’s physical body may have been rescued, but her mind is still away with the fairies!
Section three, appropriately enough, uses a three part structure:
i) Marta’s debates the nature of Time with ‘the serpent’
ii) Marta as Goddess transcends the Cosmos
iii) Marta (as her childhood self) rides the very-slow-moving train and receives her gift from the Dark Lady
I’d like to acknowledge two influences here; firstly, the late Iain Banks’ wonderful second novel The Bridge, which has had a hold on my imagination since first reading; and secondly, Lewis Carroll (if you haven’t noticed that Marta takes the role of Alice in her exchanges with the serpent, then you haven’t been listening!).
Our sojourn in Marta’s unconscious ends when she wakes…
Another influence, which has only just occurred to me (even ‘though I actually quote his lyrics in Sleeping Beauty), is Jimi Hendrix’s 1983, which can be found on Electric Ladyland.
In section 4, we (and Marta), are back in the real world, and our heroine is finally facing up to the consequences of her actions…
There is some foreshadowing here (in Jorge’s reaction to Marta’s dream), and some bitter self-knowledge on her part; but Jorge’s love for her is able to transcend the barriers that have sprung up between them…
But then we always knew it would…
Bye for now

Blog entry eighteen: Sleeping Beauty

By C Stevens | 18th November 2016 | Comments 0 Comment

Chapter eighteen continues the narrative form experimentation of the previous two chapters; but Sleeping Beauty ups the stakes by taking place entirely in the imagination of the protagonist (NB to access the chapter, hover over the drop down menu ‘Read the book’ and scroll down!).
We are not immediately aware of this however, as the chapter opens with best friends Marta and Priya apparently on yet another routine mission Out! The action shifts by degrees from realism, until it’s clear we’re not in the ‘actual world’ of Alpha 5; but we’re not made aware of the true state of affairs until right at the end of part one (although the title is a giveaway!). So essentially a narrative mislead…
William Blake makes another appearance in the text of part one, and (although I say so myself), I think that the passage that leads up to the Blakean reference is the best piece of writing I had managed up to that point. But it’s not just an exercise in poetics, or lyricism for its own sake; the appearance of the ‘serpent’ advances the story, but to misquote Bryan Ferry, ‘…what’s real and make believe?”
Sleeping Beauty is divided into three sections; each following the same pattern, apparently beginning in the real world, before we dive into the fantastic…
Somewhere I remember describing the series as ‘realistic SF with fantastic elements’, which describes this section of the novel as well as anything. I think the description was in the blurb accompanying one of my unsuccessful attempts to interest a literary agent in the series! I’m aware that trying to market SF in today’s literary scene is (to a large extent) swimming against the tide, and you could see the inclusion of fantastic elements as a nod to the zeitgeist, but bear in mind my literary influences!
In section two, Marta (or at least her unconscious self) begins to realise the truth, and again I’m very proud of of the end of this section, although I acknowledge Philip K. Dick as an influence…
In section three we’re moving into the territory of intertextuality… But how are we to regard the information that is imparted during the episode set in the estate? What is the status of the Marta of the estate, and who exactly is her host?
Again, I’m extremely proud of the end of the chapter where I believe I achieve the lyricism I strive for… The narrative in Sleeping Beauty is deliberately cyclical (obeying the logic of dreams), but there is also a crucial revelation right at the the end of the chapter…
Taken together, the three chapters Around my heart in eighty hours, Disobedient Child, and Sleeping Beauty represent a high point in the trilogy (not that you should stop reading!), where I start to achieve some of the literary goals I set for myself when I started the project…
I hope that you are enjoying reading it…

Blog entry supplemental two: The Sick Rose and other references

By C Stevens | 1st September 2016 | Comments 0 Comment

As I’ve probably already said, I understood from the start that I would write only one extended work of science fiction. A prequel (or should that be sequel) to Lights in the sky is underway, but although the Alpha Mission looms large in the background, the new novel is already taking a somewhat magic realist turn! So far I’ve only got provisional titles (it was going to be the The World we left behind, but now the ‘left-behind’ or possibly ‘the left-over World’ are under consideration). One decision I have made is that I will write it under my mainstream nom de plume, Stephen Clare…
I think it’s important to try and articulate why I’ve written the trilogy and where the inspiration came from. The original inspiration is actually a nonfiction work, Brian Aldiss’ history of science fiction, Billion Year Spree (later published in a revised and expanded edition as Trillion Year Spree co-authored with David Wingrove), which I essentially used as the syllabus, if you like, of my own self-guided study of SF and related literature. Of course, like all generalisations this is an oversimplification! I started reading SF and other forms of imaginative literature well before I came across a dog-eared copy of Aldiss’ SF history in an East London second hand bookshop; but if you go through the book, all the fictional inspirations for LITS are there. So, Mr Aldiss, I am forever in your debt!
I’ve getting ahead of myself recently; the reason being that as I prepare more chapters of A Children’s Crusade (a Kurt Vonnegut reference!) for publication on this website, the inspiration for specific passages and episodes within the novel become apparent!
For example, I specifically reference William Blake in a future chapter by the simple expedient of having the protagonist, Marta Fernandes, study the great London mystic as part of her continuing education. Like the rest of the Children, Marta starts by resenting having to study such an apparently irrelevant subject as English Literature, but unlike the rest she ends up drawing parallels between her rather strange existence and subject matter of one of the Songs of Innocence and Experience, The Sick Rose.
Later references include Lewis Carroll (from Alice’s Adventures underground), and in the same chapter, the rather obvious debt I owe to the writings of Philip K Dick…
Both, of course, feature in Billion Year Spree…

Blog entry supplemental: …it’s about time

By C Stevens | 17th August 2016 | Comments 0 Comment

The series is now complete; I put the finishing touches to The Lost Colony (the final book in the trilogy) just over a week ago, bringing a three year plus writing project to an end.
I’m not sure how I feel…!
Clearly, I’m satisfied that I’ve done it, that I’ve completed a coherent piece of writing, more than one thousand pages (and nearly 300,000 words) long, but feeling slightly bereft that my story is now complete. Of course, I can re-visit the world I’ve created any time I want, but never again will I go there not knowing how it all ends, with the delicious thrill you get from the realisation that you’re still writing the story (or possibly the story is writing itself, using you as the medium?), that your fictional world is still evolving, and everything is still up for grabs! I have viewed the series as a detective story, with me in the role of detective…but now the case is closed…
My intention when I embarked on Lights in the Sky more than three years ago, was to write a post-modernist SF series, and I feel I have largely succeeded…
But how is it postmodernist?
Well, it incorporates a number of the features which have characterised postmodernist literature. Specifically, pastiche and a rather wholesale mixing of genres: including detective fiction, YA, fairy tales, the adventure story, SF (obviously), future history, coming of age, family saga etc…
Thinking I’d only ever write one science fiction work, I decided to chuck everything in! But, as often happens, the process of writing changes your intentions along the way, so there will be a fourth book, a companion volume, set on Earth, and (depending on your relativistic standpoint), either a prequel or a sequel to the Alpha 5 narrative…
Magic realism is also present, through the use of fairy tales and dream sequences; also fabulation, through the incorporation of fantastic elements; temporal distortions, and altered states that turn out to have objective reality, although this cannot be because it would violate relativity! My text also incorporates characters with similar names who are in fact doppelgangers! (there are three in the text!) A scientific explanation is advanced for both of the above (in the case of the relativistic paradoxes, this is based on my rather imperfect knowledge of the phenomenon of quantum tunneling!). This one of the advantage of SF as a form, one can always reach for science (real or imaginary) to provide explanations!
As SF, the text features technology heavily, but also hyperreality; specifically through the game show that features the Children as unwilling actors in a scripted narrative, produced and stage-managed by the robots, acting as agents for the shadowy Mission…
In addition we have paranoia; ‘…the belief in an ordering system behind the chaos of the world’. In Lights in the sky, this system has three distinct agents acting for it; the Mission (of course), the Alphanians, and behind them all, the Divine Architects, who we never actually meet…
My use of genre tropes is obviously self conscious, but not consciously ironic! I have no desire to distance myself from or deconstruct these genre elements which I love, and have loved, in many cases since childhood…
Clearly, I’m a fan of narrative form experimentation (which is in itself postmodern), but this is not an absurdist Universe, and the tale does come to a final resolution, which is less so…
You may become aware that the narrative is intended to work on a number of levels, however it’s not necessary to fully understand all of them to gain enjoyment from reading it…
We have paradigm shifts at the end of each book, and, oh yes…! It’s about time…

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