12 Monkeys - I Want the Future to be Unknown

Transcript: 12 Monkeys, "I want the future to be unknown"

Railly: Uh, you were standing there looking up at the moon, you were splashing through the water looking at the moon, then what? 

Cole: I thought I was in prison again. 

Railly: Just like that? You were in prison? 

Cole: No, not really. Like you said, it was all in my mind. 

Railly: You disappeared! Okay, one minute you were there. The next minute you were gone. Did you run through the woods? 

Cole: I don't know -- don't remember. 

Railly: The boy in the well. How did you know that was just a hoax? 

Cole: It was? I didn't, didn't know. 

Railly: You said he was hiding in the barn! 

Cole:  I think I maybe saw a TV show about that when I was a kid. Where a boy... 

Railly: It wasn't a TV show! It was real!

Cole: Well, maybe this boy saw the same TV show I did and he copied it. Look, you were right, I am mentally ill. I imagined all of these things, these people. I know they're not real. I can trick them, I can make them do what I want. I worked on them a little bit and I got back here. I can get better. I can stay here.

Railly: What does this mean to you? 

Cole: I think I had a dream about this. 

Railly: You had a bullet from World War One in your leg, James! How did it get there? 

Cole: You said I had delusions -- that I created a world -- you said you could explain everything... 

Railly: Well, I can't. ... I mean...I'm trying to. I can't believe that everything we do or say has already happened, that we can't change what's going to happen, that five billion people are going to die. 

Cole: I want the future to be unknown. I want to become a whole person again.
I want this to be the present. I want to stay here this time, with you.

Little Brother - Cory Doctorow

I'd read Down and Out in the Magic Kingdom before Little Brother. So, I knew that Cory Doctorow does more than tell stories. He extrapolates on the intersection of society and technology to consider what the future will be like. In Down and Out, the future is kind of odd. The only currency that matters is social currency. In other words, reading the (chat)room is all important. Down and Out is a utopia, a eu (good) and u (nowhere) kind of topos (place). As long as people like you, Doctorow's future Magic Kingdom offers a kind of immortality.  Death is forever averted by loading one's backups into fresh bodies. The desire to cheat death through technology has a history with Disney. Walt had his body cryogenically frozen in hopes that doctors and scientists in the future could revive him and extend his life. But in Doctorow's world of extended life, life only matters if others value you.

An Interview with Robert G. Penner, Author of Strange Labour

Robert Penner was editor at Big Echo, which ran for four years and published boundary breaking SF. Now he's moved into his own boundary breaking with a bold, new book, Strange Labour.

Some books have a painterly quality. The images jump off the page, vivid windows into worlds that veer into territory at once strange and familiar. That's where Penner's Strange Labour begins and ends. Penner is an imagist in the quality of the moderns as much as he is a postmodernist and a genre writer. Strange Labour is literary SF, merging philosophy with PK Dickian skepticism, like anxieties about using marijuana for fear of scrambling one's own genetic material.

Cat's Crade - Kurt Vonnegut

This book "is devoted to pain, in particular to tortures inflicted by men on men." - from the Sixth Book of Bokonon

Paul Virilio's Original Accident considers how new technology creates ever greater possible calamities. The passenger airplane creates the air crash. The highway creates high speed car wrecks worthy of J G Ballard. Essentially, Virilio riffs on the balance between life and death, creation and decay. Everything is wolved by the fangs of entropy. But some technology resists classification here. Think of DARPA's soundwave based weapons, microwave based weapons, nuclear weaponry. None of that technology exists in some kind of mystic yin-yang between swell-ish and hellish. No, this crap was created to hurt people, to flatten cities, to maintain political sovereignty and economic might.

Annexing Invasion: An Interview with Rich Lawson

Rich Lawson, author of Annex and Cypher, writes invasion narratives in response to today's media environment, drug-induced hallucinations, and as a cathartic exercise since his family has personally borne the experience of invasion.

A singularly powerful aspect of Annex is that the aliens, though murderous, endow humans with powerful bio/psychic internal power qua weaponry. The weaponization of encountering the other is provocative. Rich's characters draw from power in their gut, the very place that we often use to describe our dislike of people and things: for example, "I had a gut feeling" or "I knew in my gut." With this gut power, Rich's characters can temporarily alter reality, creating holes in solid structures. The metaphoric work describes the disruptions in societies as a result of racism. Hate for the other sees through culture, art, and tradition, it masks reality with a fantasy of hate, a fantasy that insists that a people group are worth nothing, are nothing.

Lawson has published dozens of short stories, beginning in 2011. He was born in Niger and now lives in Ottawa, Canada.