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Book Cover for 'The Leftover Girl'
Book Cover for 'A Children's Crusade'
Planet Surface (Detail)
Pseudo-shrubs (detail)
Nurse G
Rai
Han
Marta
Alphane life (detail) , dome in distance
Su Ying
Senhora Daguia
The Dome (detail)
Priya
Pseudo-crustacean
Jorja

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Category: relativism

Pluralistic Absolutism and Adversarial Hyperbole

Pluralistic Absolutism and Adversarial Hyperbole

A new (and in Western liberal democracies, at least) dominant philosophy has emerged in these most worrying of times, which I have given the name pluralistic absolutism. Now I did Google this, and nobody seems to have used this precise term before. It is however a new spin on an old notion, that of cultural absolutism; the notion that the values of your nation, region, ethnic group, religious persuasion, social class, or ideological belief system (delete as appropriate) are paramount and cannot be challenged. Like much in contemporary culture, this notion has mutated and been transformed by the influence of the internet, and in particular, by social media. 

Ironically, an innovation that promised to bring peoples, nations and cultures together, has had precisely the opposite effect; the online world has instead atomised society, facilitating the rise of identity politics. Societies have become far more tribal, with people finding others who share their ethnicity, gender, and sexuality (or any combination of the aforementioned) and have similar beliefs, norms and values, within cyberspace. These new virtual communities are no longer necessarily limited by national boundaries. But, rather than resulting in a more tolerant attitude towards difference, a reaction against cultural relativism has led to the opposite. A Holier than Thou attitude has become mainstreamed, as everyone noisily proclaims the difference and uniqueness of their group’s particular take on the world, and its moral superiority to every other point of view.

This worldview has many additional consequences, including a conviction (on the part of everybody, it would seem) that there is a fixed way of doing everything, from watering plants in hot weather to writing genre fiction. All of this is spread and facilitated via social media, often linked to different identity groupings, and taking its place alongside the innumerable conspiracy theories, faddism in medical treatments and diets, and all the rest of the detritus.

Every little identity group now maintains that their narrow view of the world and their particular way of doing things is right and rejects (and often condemns as evil), all competing philosophies and methodologies.

The result of this is civil paralysis and confusion, which is exploited by Populists and authoritarians, and threatens democracy and the basis of Liberal society itself, which relies on tolerance and the willingness to agree to differ.

Accompanying this is what I will term adversarial hyperbole, in itself nothing new in the pages of the popular press. However this is now aggressively colonising other areas of the media once considered immune. Hence, every pronouncement by a celebrity or public figure is now an admission rather than a comment. Mild observations about others are repurposed as ‘brutal’ or ‘crushing’ criticisms! (sidebar: when did our public vocabulary become so limited?) 

Every form of public discourse now appears to be conducted in the most ludicrously adversarial terms, and one has to ask what this fashion for violent public discourse tells us about our culture and about the likely fate of our democracy.

Not wishing to be alarmist here, but the Weimar Republic comes to mind, and others have already drawn parallels between the Reichstag Fire and the storming of the US Capitol by Donald Trump’s supporters. This leads me to the conclusion that the new pluralistic absolutism is effectively a product of the Baroque phase of Western Liberal Democracy, and likely a harbinger of its imminent dissolution.

On that cheery note, ’til next time

The Author    August 2021

Last train to Woking

Last train to Woking

I have just completed watching War of the Worlds on television and I must say I’m somewhat disappointed. Having endured the cheesy 1953 movie, and the gargantuan Tom Cruise remake, I had hoped the BBC series would cleave more closely to the original novel. First signs were encouraging; the drama was actually set in England (in the original Home Counties and Metropolitan locations, in fact), and (roughly) in the right historical period.
However the cracks soon began to show…
The series makes use of CGI that manages both to be unconvincing and gargantuan (rather like the 2005 film), the action sequences contrived to be considerably less gripping than those in Wells’ novel (fer Christ’s sake!), and the scriptwriter made unnecessary and counterproductive changes to the plot, including introducing a new female lead played by someone previously best known for starring in Downton Abbey.
I could go on, pointing out that Wells’ references a huge variety of means of transport in the book, but everyone in this reimagining appears to either walk or ride on horseback, but what would be the point.
The point I really want to make is that in this new version the BBC seems to be pandering to modern identity politics, as it did with the most recent series of Dr Who. But the organisation would appear to be conflicted, because at the same time, its news division spends an awful lot of its time pandering to the arch-enemies of ‘wokeness’ (i.e. the Brexiteers, Farage, Johnson and the rest of that mendacious crew). Quite why, I can’t imagine! Does the Corporation seriously think it’s going to be rewarded for this craven servility? Farage is already calling for the end of the license fee in his party’s manifesto, and I wonder how long it will survive under a Johnson-led administration.
For once I actually agree with Nigel, although (I would imagine) for different reasons…
The license fee is a regressive tax; you pay the same whether you’re Richard Branson or a lone parent on Universal Credit in rented accommodation, also, the BBC has been operating (effectively) as a commercial broadcaster for most of my lifetime, and I think this subsidy of a private corporation should be withdrawn.
Instead, real public broadcasting following the American model should be funded from general taxation. By this means Radio’s 3, 4, 6 etc, plus regional broadcasting and BBC 4 could be saved while the BBC fulfils its destiny as the new NBC (or not).
But at the end of the day, the problem with identity politics is that it divides us. Divides us in the face of the super-rich (and their populist lackeys), divides us so we cannot muster a coherent response to climate change and all the other environmental threats that we face.
There’s an old proverb applied to political activism, ‘…you either all hang together or you all hang separately’, and with regards to the BBC, it may well turn out that the last train to Woking, will be seen in the future as a dying fall in its futile attempts to straddle various uncomfortable political and cultural fences.
Toodle-oo
The Author December 2019

A secondary world?

A secondary world?

A secondary world?

I viewed a rather ancient, but nevertheless interesting, documentary on JRR Tolkien on YouTube recently. The documentary was made well before Peter Jackson’s filming of Lord of the Rings and The Hobbit, and concentrated on the books, with keynote contributions from Tolkien’s youngest son, Christopher…
Christopher Tolkien discussed his father’s concept of Middle Earth as a ‘secondary world’, that is to say an alternate reality that works by different rules, a notion that (amazingly) I was unfamiliar with; and the more he talked, the more it occurred to me that Lights in the sky, is in many regards, an example of this.
So I did some research on the concept and concluded that, although I’ve tended to think of myself as a writer of ‘realistic SF’, there are many of the elements of a secondary world in the series, particularly in the three novels set on Alpha 5. So without knowing it, I have (in some ways) been writing a work of high fantasy.
Now it’s important to keep a sense of proportion here. I have taken considerable care to make LITS as plausible and scientifically credible as possible, and what I have just said in no way invalidates any of that. But the series is many things not just one, and incorporates various literary tropes. At the end of the day it is also a work of the imagination.
Different books within the sextet are fantastic to a greater or lesser degree; After the Flood is definitely the volume with the most tenuous connexion to high fantasy, but both the books that feature Marta Camacho have long passages that dive headlong into the genre. In particular Ms Camacho’s journey down the Amazon River on her raft, following her departure from the riverboat Fitzcarraldo, which is deliberately presented in dreamlike terms.
But it’s the original trilogy that cleaves most closely to the idea of a secondary world. We have a series of novels that takes the form of a bildungsroman. The protagonist is a child when the action opens, but grows into adulthood, and comes into powers and skills beyond those of ordinary person back on Earth, although in my world these have a technological source. Marta Fernandes is also to all intents and purposes an orphan. The theme of good versus is central to the series, but the question of who is good? and who who is evil? is often indeterminate, and is left unresolved until the end of the series. This is where I mostly part company with most fantasy writers, as in my world relativism is part of the underlying philosophy. Thus the Alphanians are presented at different times (and in different ways) as both an apparent threat to the eventual triumph of good, and as its most effective proponents. The same can be said (to a lesser degree) about the Artificial Intelligence fronted by Nurse Six Gee.
The World of the series is revealed to be illusory, in the sense that the World is not as it appears to be, by a series paradigm shifts in the first three novels. A similar process is now taking place in the denouement of Maya, which I am currently writing. And at the end of the day there are beings within this cosmos whose powers are to all intents and purposes Godlike, and therefore (as far as the human actors are concerned) magical…
The Author May 2019