Monument — Lloyd Biggle

Cover of Monument


Monument
Lloyd Biggle
173 pages
published in 1974

It’s been a while since I’d read any of Lloyd Biggle’s novels; the last one had been The World Menders back in 2007. I’ve always liked his writing, quietly liberal and anti-colonialist in a way that few other science fiction authors of his generation were. His belief in the idea that “democracy imposed from without is the severest form of tyranny” seemed especially apt during the darkest days of War Against Terror triumphalism. He is however, not a writer much read these days, having done the bulk of his writing in the sixties and seventies. He died relatively recently, in 2002, after a long illnes, having written only some six novels since the seventies.

Science fiction is often an imperialist, colonialist genre, in which it’s taken as natural or even desirable for there to be a galactic imperium to which newly discovered worlds should be gently or firmly — depending on the author’s preference — be persuaded to join. Sometimes this is dressed up as the need to avoid interstellar wars and even in stories with a Galactic Federation rather than an empire the need for newly discovered worlds to be assimilated is rarely questioned. Not so with Lloyd Biggle; several of his books question this mentality and Monument is one of them. Taken its lead from what was happening in e.g. Polynesia at the time, it’s an sfnal attack on ill considered economic development imposed from the outside.

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WALL-E: thriumph of the nice guy



So seeing WALL·E over Christmas again got me thinking. That love story between WALL·E and EVE, that’s pretty much the nice guy fallacy in a nutshell, isn’t it? WALL·E falls in love with EVE and pesters her while she’s doing her job, not taking no for an answer. He keeps hanging around and bringing her gifts she doesn’t need, isn’t honest about his feelings for her but seems to think that if only he brings the perfect gift she’ll like him. That by accident he does bring her just the thing she needs doesn’t alter anything. After this he stalks her to her home, interferes with her work again, makes her an accomplish in his jail break from the mental hospital for robots, keeps her in trouble with lawful authority and finally guilts her in loving him when she sees how he took care of her when she was incapitated. All that’s missing is the negging.

Yes, this may be tongue in cheek

Playing Civ V the Culture way

One of the things that stayed with me the most from Iain M. Bank’s The Player of Games more than twenty years ago was the following:

Another revelation struck Gurgeh with a force almost as great; one reading—perhaps the best—of the way he’d always played was that he played as the Culture. He’d habitually set up something like the society itself when he constructed his positions and deployed his pieces; a net, a grid of forces and relationships, without any obvious hierarchy or entrenched leadership, and initially quite profoundly peaceful.

In all the games he’d played, the fight had always come to Gurgeh, initially. He’d thought of the period before as preparing for battle, but now he saw that if he’d been alone on the board he’d have done roughly the same, spreading slowly across the territories, consolidating gradually, calmly, economically… of course it had never happened; he always was attacked, and once the battle was joined he developed that conflict as assiduously and totally as before he’d tried to develop the patterns and potential of unthreatened pieces and undisputed territory.

The Player of Games is of course all about playing a particularly complicated game, insanely complicated even, which functions as the central controlling metaphor for a rather nasty interstellar empire the Culture wants to Do Something About. It made sense for the resolution to be about playing the game the Culture way, but ever since I’ve been looking at Grand Strategy and 4X games and how to play those the Culture way, starting with Master of Orion way back when.

Now last week I started getting into Sid Meier’s Civilisation V. Yes, I know, I’m so ahead of the times. After playing a first few games, I started thinking how I would play this game as the Culture. Obviously, it means going for the science victory rather than just attacking and conquering every other player, but how else should I play?

As we know from the Culture novels, the Culture isn’t military aggressive, but can respond quickly and with overwhelming force when provoked. This means building up an empire in Civ V that’s scientifically advanced, with enough resources (gold, otherwise) to quickly build an army when necessary. The other aspect of the Culture is that it is an exploring and flexible civilisation, continueously establishing new outposts and welcoming new peoples, as well as letting others leave. In Civ V terms this means therefore lots of scouting out the world, quickly establishing new colonies and forging ties with other civilisations and city states, including the occasional annexation of a city state.

As for simulating contact, there are the scouts and the diplomatic functions, trading directly with other civs, giving gifts and pledging protection to city states, with the spies acting in the background as Civ’s version of Special Circumstances. On the whole a Culture civilisation should focus on discovering new territories and settling them, improving the empire’s economy and keeping an eye on the more aggressive fellow civs. When need be a bit of dirty trickery should provide the excuse to start a war against an aggressor civ, after which the military forces should be hidden or dismantled again.

It may not be as much fun to play the Culture as it would be to go full Gandhi on the world and let rain the atom bombs, but it is an interesting challenge…

John Carter – Borelord of Mars



Had the movie been more like the the trailer it would’ve been more successful. But having just watched it on the BBC tonight I understand why it was such a box office failure. Boy did this drag, mainly out of the misguided desire to put a framing story around it. It also doesn’t help that John Carter himself is a huge dick during most of the film and an incompentent dick at that. Or that the story itself, that of the reluctant hero unwillingly learns to fight for a greater cause than his own greed, is so predictable.

All of that is fixable though. Cut out everything in the first fifteen-twentyfive minutes until Carter is chased by Apaches into the cave with the portal to Mars/Barsoom, tighten up some of the running to and fro once he’s on Barsoom and with the Tharg, cut at least some of the “Carter gets angry, gets in a fight and gets his arse kicked” scenes, then end the movie with him calling himself John Carter of Mars. That should cut out at least half an hour of tedium and puts the focus back on the fighting and the great setting. Edgar Rice Burroughs’ Barsoom is a great place for a spectacle film, but not if you load it up with tedious extras.

I’m not sure why Disney felt it necessary to make the film the way it did, why it didn’t just film A Princess of Mars, but it’s such a shame because it could’ve been a great sci-fi romp. When it does gets going it’s a great movie to watch. The CGIed Tharg look great, the Martian technology looks cool and the low gravity jumping looks fun. A missed opportunity.

Put Butler on the World Fantasy Award!

Daniel José Older continues his campaign to replace Lovecraft with Butler for the World Fantasy Award:

“Why Butler?” people asked me when the petition went up, and I remembered how entrenched we all get in our own corners within the genre. Butler’s prose soars where Lovecraft’s stumbles. Her characters live and breathe, confront complexities of power and privilege amid fantastical, terrifying dreamscapes steeped in history and nuance. My SFF community is mostly black and brown, and Butler inspired many of us to start writing in the first place. These folks congregate more often than not in online communities like the Nerds of Color, Black Girl Nerds and the Fan Bros, because outside of ComicCon, SFF cons have historically not been safe spaces for women and people of color. These are the online communities that signed the petition in the thousands, which is what transformed it from being just another attempt at dethroning Lovecraft as the face of one of fantasy’s highest awards (there have been several) to a global conversation with coverage in Salon, the Guardian, NPR and countless blogs.

I still think Older is wrong to diss Lovecraft’s writing talent. It distracts from the real argument and puts hackles up that don’t need to. But what I am coming round to is the idea of replacing Lovecraft with Butler, even if her work isn’t quite the first thing you think of as fantasy. It doesn’t matter that she isn’t the perfect fit for the World Fantasy Award; it’s the symbolism of replacing of replacing a dead white racist man with a dead black woman. It’s not enough just to make the WFA over into a neutral award like the Nebulas because that would still leave most of the major sf awards named after dead white men and even dead white racist men, as is the case with the two Campbell awards. Putting Butler forward as the face of one of the major fantastika awards would send a signal that science fiction and fantasy have changed, are trying to shed their racist history.