She alone will stand against the vampires, the demons, and the forces of darkness — more of why I love sf/f
He managed to get me to watch an episode or two with him that summer, because he had a lot of the season on video tape. I don’t remember hating it, but it also didn’t really grab me. Season two started that fall. I remember one particular evening when I got home for chorus rehearsal that Ray was telling me about the show and how much he was looking forward to next week’s episode, because there had been a cliffhanger.
Two nights later, Ray had a seizure and went into a coma. Then he died, and I fell apart.
Some time after he died, I was alone in the house doing something, and I heard a noise from another room. I went to see what was going on, and one of the VCRs was rewinding furiously, then popped its tape out. In 1997 DVRs didn’t exist. We owned three video cassette recorders, though, and Ray had a complicated schedule of pre-programmed recordings, and a pile of labeled tapes. He would swap out tapes at different times in the week, so that the different machines would record the next episode of whichever series was kept on that tape.
And I hadn’t been keeping up.
This was maybe two weeks after Ray had died. I was still deep in the shell-shocked stage of grieving. So the idea that I hadn’t kept Ray’s rotation going seized me as a terrible thing. I was letting him down! I had let the wrong shows get recorded on the wrong tapes! Who knows what else I had messed up? Never mind that Ray was beyond caring about these things. I wasn’t rational. When someone you love dies, even the most stoic and logical person has some moments of irrationality over take them.
So I tried to sort out what was going on with the tapes. And that’s how I ended up watching all of the season two episodes of Buffy the Vampire Slayer, along with about half of the season one episodes out of order (because his labelling system wasn’t always discernible to anyone but him) in a very short time.
There’s a lot of things that happened to me in those first few months after Ray died that I don’t remember clearly. But one of the few crystal clear moments was one point when I was staring at the TV and I said aloud, “Dang it, Ray! You were right. This show is incredible!”
I was addicted.
Don’t get me wrong, the show has problems. I can rant for hours and hours about how monumentally awful were most of the decisions the writers made in season six, for instance. And the many ways that season seven doubled down on some of the failure. Even before the universally despised season six, there was the incredible frustration of how the first half of season four showed such brilliance and promise of taking things to a new level, then collapsed into a world of disappointment and lost opportunity. And oy! Trying to make sense of both the explicit and implicit contradictions about the nature of magic, demons, the biology of vampires…!But there were so many things the show got right. One of the things they got most right is casting James Marsters and Juliet Landau as Spike and Drusilla, the Sid Vicious and Nancy Spungen of the undead set (and if you don’t know who they are, your life is sadly lacking in Sex Pistols, is all I’m saying). There was a point, after I had acquired the complete DVD set of season two of the series, where literally at least once a week I re-watched the episode that introduced Spike and Dru, “School Hard.” They were evil and cold and vicious and Dru is crazier than a coked out mutt in a hubcap factory. But they were also madly deeply in love. Spike rather proudly proclaimed himself love’s bitch in a later season, “at least I’m man enough to admit it!”
What made the show work was the relationships between the characters. Joss Whedon and his crew created a world in which a small, pretty girl regularly kicked the butts of evil creatures. A world where the real problems that teens try to deal with often made the monsters seem trivial by comparison. Some of the creatures of darkness were metaphors for the problems humans face coming of age, yep. And sometimes the parallel between the mundane story lines and the supernatural ones were a little on the nose.
But then there were the moments of brilliance, such as when everything had been taken from her: her first love turned evil, her best friend lying dying in a hospital, she’s been kicked out of her home, everything she cared about either broken, dying, or lost; the villain has fought her back into a corner and is berating her about all she has lost and all who have abandoned her. “What have you got?” he asks with a sneer, as he thrusts what we think is a killing blow with an enchanted sword. She catches the blade between her hands, looks him in the eye with the most amazing fuck-you glare of determination and says, “I’ve got me.” Then proceeds to kick his butt and save the world.
Those sorts of moments, where a simple refusal to give up in the face of impossible odds, and the many times that various characters in the story sacrificed for their loved ones and found a way out of a hopeless situation—they were what made the ups and downs of the show worth it. And I want to be clear: one of the things they did right more than once was not that the characters found that one last glimmer of hope in the midst of despair and defeat; rather, the characters made their own hope. Yes, Buffy was about empowerment. Buffy was about the damsel being able to rescue herself. Buffy was about turning notions of victims and saviors on their heads. Buffy was about seeing that the questions of good vs evil aren’t always black and white; that part of being a hero (and a big part of growing up) is about learning to make your way through all those shades of grey without losing yourself.
But mostly, Buffy was about love, chosen families, and not giving up.
Now, the things I misremembered about the series had almost nothing to do with the episodes or the storylines. And I’m at least a little bit curious as to why my brain made the changes in recollection that it did. The gist is: my recollection was that the series premiered shortly before my mom, sister, and I moved out to the west coast following my parents’ divorce (when I was 15 years old), that I initially liked the series but became dissatisfied with it as the seasons went on, and was slightly curious years later when the follow-up series Galactica 1980 was released, but was even more disappointed in how poorly the show had aged.
Which is all very, very wrong. And some of it was wrong in ways that are kind of flabbergasting. The original series premiered the same month as my 18th birthday and a little over a year after the worldwide premiere of the original Star Wars. It was only on the air for one season (24 episodes). And the gap between the ending of the original series and the premiere of the follow up was only 8 months.
Glen A. Larson originally conceived the series in the mid-sixties as a group of about three television movies called Adam’s Ark. It was a synthesis of space opera themes with Mormon theology (Larson having been raised in the Church of the Latter Day Saints). Larson had been unable to sell the idea to anyone. Even when a couple years later Star Trek became briefly a minor hit series. (Star Trek, of course, wouldn’t become a sci fi behemoth until later, after reruns had been running in syndication for several years).
Then, in 1977, the movie Star Wars was a worldwide blockbuster hit, and suddenly every network, movie studio, and anyone else in the entertainment/media/publishing world was looking to cash in on its incredible success. Larson’s pilot script looked very attractive.
They filmed the pilot, ABC bought it, put the series on the air with an incredible budget that wouldn’t be exceeded by any other TV show for many years, and we were off. The show did incredibly well in the ratings for the first month or so, until CBS shifted its schedule to put the very popular All In the Family and Alice up against it, causing Galactica’s ratings to slip a lot. Of course, the series might have slipped anyway. The initial spectacle of billions of people killed in the opening battle (not to mention the show’s willingness to cast more famous actors in roles that died within the first several episodes) really seized the imagination. Whereas a lot of the filler episodes were, well, pretty bad. And some things, like the robotic dog pieced together from parts to replace the real dog (killed in the pilot) that had once , were very cheesy.
And while those special effects were lightyears beyond anything seen on television before, they were very expensive. So the network expected not just good ratings, but unbelievably good ratings.
Still, the show had a lot going for it. It didn’t hurt that I had a big crush on Starbuck, of course. But I also had a different kind of crush on Apollo. It wasn’t until some years later, when I got to rewatch some of the original series after I had actually admitted to myself that I was gay that I realize I had the hots for Starbuck, but Apollo was who I wanted to fall in love with and settle down.
Hatch’s character was different than the typical leading man at the time. Unlike the reboot series, Apollo had a warm relationship of mutual respect with his father, Commander Adama. In the pilot he met and practically adopted Boxy (the young boy whose dog had died) helped reunite the boy with his mother, prompted fell in love with said mother, married her, and even though she is killed shortly after the wedding in a Cylon attack, remains a good father. Heroes had been family men before, of course, but unlike some previous fictional fathers, Hatch made you believe that he loved his stepson.
There was a lot to like about the original Galactica. Cool space battle, for one. The Cylon Centurions were a bit cheesy–their chrome colored bodies were always so shiny and unscuffed, even after tramping through a sandstorm on yet another planet that looked like a Universal blacklot generic Western landscape with inexplicable lights added to make it look spacey(?), for instance. But both individual Cylons and the fleet were appropriately menacing. The show did a good job of making it feel like the stakes were real. And the notion that even after the mass murder of billions of people, a group of survivors would claw hope out of disaster and look for a new home was more than just heartwarming.
The show had some problems, as well. Some of them are typical problems of producing a weekly science fiction television series with 1970s technology and practices. Others were more thematic. The fundamental premise from the beginning was that contemplating disarmament as a step toward peaceful co-existence was the most foolish thing people could do. Given the nuclear stand-off between the U.S. and our NATO allies on one side, and the Soviets and their Warsaw Pact allies on the other, and the very active policy and treaty debates going on at the time, the show was staking a blatant political position. Related, throughout the original series, the military leaders were shown time and time again to always be right, while civilians (particularly any who advocated non-violent philosophies) were always wrong–and not merely wrong, but naively and disasterously wrong again and again.
Remember that the next time someone claims that sci fi has only become political recently.
While caught up in an individual episode it was easy to ignore those problematic elements. Besides, I loved Commander Adama, he was a hero and a great leader! And his son, Apollo, respected him, and we saw a lot more of Apollo in action on screen and he was clearly a good man, brave, loyal, and so forth. Even the sort-of-rebellious Starbuck respected Adama! Therefore our affection for Adama was not misplaced, right? Except, of course, that the examples of civilians who had a different opinion than the military command tended to be one-dimensional or transparently designed to either be unlikeable or pitiably naive.
So Galactica was hardly nuanced.
I liked it. The idea of fighting on against impossible odds is almost always appealing. People who snatch victory from the jaws of defeat with nothing more than hope, courage, and a bit of cleverness are fun to root for. And Galactica gave us that aplenty.
And you can hardly fault a story for that.
Until the night of my first date with my late husband, Ray. Ray was wearing a t-shirt from George’s Faith tour on the night of our first date. And during our conversation it had come out that I wasn’t a big George Michael fan. The end result of all of that is that the first time Ray and I made out, it was while Faith was playing. Call it Pavlovian if you want, but since that night, George’s voice has always made me think of sexy times.
George wasn’t out at that point. It wasn’t just that he wasn’t out publicly about his sexuality, he was still struggling with it himself. He famously fired the director of one music video which he felt had too much homoeroticism in it and re-edited it himself. Most gay guys I knew at the time assumed he was gay and closeted. I remember one epic rant a friend of mine went on one night about why George should come out and how it wouldn’t hurt his standing as a pop star because, “all the screaming girls will still think he’s cute!” Which I think says more about that friend’s view of pop music than anything else.
When George did come out, it wasn’t voluntary. He was arrested after a cop solicited him for sex at a notorious public cruising location. But once he was outed, rather than try to explain it away, or go into rehab or do a media tour seeking penance, he embraced it. He was tired of hiding his queerness, yes, but he was also tired of society’s really messed up attitudes about sex. When asked about the arrest in one of the first interviews, he talked about the double-standards of our laws. Why is it legal for a cop to wave his dick around and ask someone to have sex, but the person who takes the cop up on the offer is a criminal? Why is sex, particularly queer sex, criminalized and ostracized to the point that people wind up believing the only places they can engage in it are sketchy, dangerous situations?
And he wrote a song about it (video at the end of this post), “Outside.” The music video is especially a big F-you top the many double-standards about sexuality society still wallows in. “Outside” isn’t my favorite George Michael song (that honor goes to “Hard Day”), but his attitude and beliefs expressed at the time, and in numerous declarations later that he wasn’t ashamed of not just his orientation, but of sex period, and that no one else should be, are among the reasons that I’ve counted George one of my heroes since then.
My relationship with Carrie Fisher is very different. I was a very closeted queer teen-ager when the original Star Wars came out. I wasn’t just keeping it a secret, I was fervently trying to make it not true. Star Wars should have clued me in, because looking back it is painfully obvious that I had an enormous crush on Han Solo right from the get-go. And while I loved Princess Leia, it was because of her badass attitude (“Governor Tarkin, I should have expected to find you holding Vader’s leash. I recognized your foul stench when I was brought on board.” “Into the garbage, flyboy!”) not because I wanted to date her. I wasn’t one of the guys drooling over her in the slave costume after The Empire Strikes Back came out, either.
I liked her in The Burbs, and then I absolutely loved her in Soapdish. But even more, I loved her outside of the acting. Whether it was the time she explained bipolar disorder to a little boy at question-and-answer session at San Diego ComiCon, or when she talked about Hollywood’s double standards for older women actors in many interviews, or dishing about the weirdness of growing up in Hollywood while struggling with drug and alcohol addiction (if you haven’t read her book, Wishful Drinking you really should; it covers serious topics while being hilarious; another of her books, The Best Awful, is an equally fun while still serious look at Bipolar Disorder).
And I was so happy to see her playing a Commanding General in The Force Awakens last year. I have been looking forward to what General Organa would do in the later films.
So, yeah, I’m not feeling at all festive this week. I’m really not enjoying saying good-bye to George or to Carrie. And it’s not just because they’re celebrities. Both of them were people who weren’t ashamed to be flawed humans, weren’t ashamed to be authentic, and weren’t willing to put up with nonsense.
George Michael – Outside:
(If embedding doesn’t work, click here.)
And I was, as far as I could tell, one of the few kids in my class on the Monday morning after the movie had shown, who hadn’t seen it. If the film was shown on network television in the next couple of years, I didn’t manage to see it. After my folks divorced and my mom, one sister, and I moved 1200 miles away, one of my new friends mentioned that Young Frankenstein had been re-released to theaters and was playing downtown. Back in the days before ubiquitous cable, movies on tape or disc, or the internet, movies were often re-released into theaters.
When I mentioned that I’d never seen it, my friends were aghast. The next thing I knew, we were piling into someone’s car and driving to the theatre. I loved the movie. I loved it so much, that I couldn’t stop talking about it. I kept telling anyone who would listen to me about the grandson of Victor Frankenstein, Frederick, who insists that his last name is pronounced Frohnkensteen, and is ashamed of his crazy grandfather’s work; but upon finding said grandfather’s journal becomes obsessed with bringing a dead man back to life, and the zany misadventures that follow.
My mom thought it sounded fun. And so a night or two later, I found myself standing in line at the theatre once more, this time with my mom and little sister.
The movie has more than a few jokes based on sexual innuendoes, which it didn’t even occur to me might not be appropriate for my eleven-year-old sister, let alone what Mom might think of it. And both of them were laughing at all the same places I was, so everything was going fine. Until we reached the point where the Creature kidnaps Frederick’s fiancé, Elizabeth.
And then, panic started to set in. Because what happens next is that the Creature and Elizabeth have sex (in a scene that is a casebook example of pop culture’s long entanglement with rape culture). During which Elizabeth falls in love with the Creature because he has an enormous “schwanzstucker.”
Mom was a Bible-thumping Southern Baptist. Yes, she was also a science fiction fan, but her open-mindedness only went so far. And I had brought her and my little sister to a movie where a central turning point of one of the subplots is a woman falling in love with a stranger because of the size of his penis.
I was quite certain that I was going to wind up being grounded for life. Obviously Mom was going to be very upset. And I should have realized that she would be and mentioned the scene as soon as she suggested we go see the movie! I sunk down in my seat, bracing for an angry outburst.
The scene with the Creature began, and I just sank down lower in my seat. Then when the sex happens (the movie was rated PG, so you don’t even see either character get undressed, it’s only implied that the Creature unzipped his pants), and Madeline Kahn, who played Elizabeth starts singing in an exaggerated operatic style, “Oh! Sweet mystery of life at last I’ve found you!”
Mom started laughing. I looked over, and she wasn’t merely chuckling. She was guffawing loudly, covering her mouth to try not to disturb the rest of the audience (many of whom were laughing, but not that hard) and doubling over like she was going to fall out of her seat. A minute or two later her laughter subsided and she was wiping her eyes. She leaned over and whispered, “We probably shouldn’t have brought your little sister to see this!”
My sister asked mom what was so funny, and mom started laughing again.
A day or so later Mom had a slightly more serious talk with me about the importance of evaluating shows and books and such I might let my sister see as to whether they were appropriate, but she wasn’t angry. She said the only other thing she was disappointed in about the show was that we couldn’t immediately re-watch the original Frankenstein and Bride of Frankenstein right afterward.
Some time later a pair of the friends who took me to the film the first time re-enacted the “Need a hand?” “No, thanks! Have one,” scene when Mom was around, and she asked them to do it again. And they started to, but it morphed into a re-enactment of the scene in the blind man’s cottage instead. For the rest of the evening we were quoting funny lines from the film at each other. I think it was that evening that Mom explained her view of all the ways that the original Frankenstein and Bride of Frankenstein had alluded to love, romance, and even sex. Though we stayed away from any mention of the Creature’s schwanzstucker.
It should come as no surprise that two of the friends who were so aghast that I had never seen Young Frankenstein were the same pair who, a couple years later, dragged me to my first performance of The Rocky Horror Picture Show. All the sexual situations in Young Frankenstein are hetero and heteronormative, but there was still a strain of the transgressive running throughout. Young Frankenstein didn’t have the same effect on my own self awareness as Rocky Horror, but that doesn’t mean it wasn’t an important landmark in my understanding of the possibilities of science fiction and fantasy.
And I wasn’t the only nerd to think so. The year after it was released, Young Frankenstein won the Hugo Award for Dramatic Presentation. And the Science Fiction Writers of America awarded Mel Brooks and Gene Wilder a Nebula Award for the screenplay. The film also won four Saturn Awards. The film displays a great deal of fondness for the Universal Frankenstein films (there’s even a line of dialog about how the village elders have endured all of this five times before, though that’s a miscount since the Universal series actually have five: Frankenstein, Bride of Frankenstein, Son of Frankenstein, Ghost of Frankenstein, Frankenstein Meets the Wolfman and House of Frankenstein). Young Frankenstein was a humorous parody, yes, but it also served as both a deconstruction and homage at the same time.
And it’s a funny film! And that’s nothing to sneeze at.
I confess I was a bit freaked out once we got there. It was a neighborhood we hadn’t been to before, and they hadn’t warned me that almost everyone waiting in line for the show would be in costumes. Many of them oddly sexual costumes. They also hadn’t warned me that it was an R-rated show. It was only after we had sat down, and the lights dimmed that Jim handed me a newspaper and told me to hang onto it, “you’ll need it later.” So they also didn’t warn me about the audience participation that was about to go down.
The original Rocky Horror Picture Show was released on film in 1975. The show had started as a musical stage play written by London actor Richard O’Brien, who poured all of his love for schlocky 40s and 50s muscle-man movies, horror and sci fi films ranging from the 30s through 70s, and rock and roll into the show. It played first in a small 60-seat theatre, but well enough to quickly move to bigger venues, and then the play’s director, Jay Sharman, secured funding to make a movie.
O’Brien’s original script focused on the unintentional humor of the older sci fi and horror film, with only a sprinkling of references to the homoeroticism found in films such as Hercules Unchained and Duel of the Titans. But as they developed the play, and the actors (particularly a young Tim Curry) figured out how they wanted to play the characters, the pansexual and transsexual elements become much more important.
The film didn’t do very well, at all. Mainstream audiences just didn’t understand it. But a studio executive, noting that the movies Pink Flamingos and Reefer Madness were making money in midnight showings, had the idea to get some theaters to show it at midnight (the first showing on April Fool’s Day 1976). And then the show quickly gained a cult following, with people showing up in costume, and then fully costumed local casts re-enacting the show just in front of the screen as it was playing.
I was totally unprepared. People in the audience started chanting “Lips! Lips!” before the movie started. People were singing along and shouting things that I couldn’t quite understand. And then the cast started mimicking what was happening. The one time I asked my friends what was happening they just shushed me and said, “it’ll make sense eventually!”
I was very uncomfortable and confused and a little bit angry at my friends. I couldn’t always understand what was happening on screen because of the shouting from the audience.And then, with a big build up of rising music (and the audience clapping in time with the bass beat), suddenly Tim Curry was there, in the corset and fishnets belting out, “How’d’ya do I, see you’ve met my, faithful.. HANDY-man…”
It was like a punch right in my chest. And a rush of adrenaline (and other hormones) as he prowled and pranced while belting out “Sweet Transvestite.”
I was completely closeted. This was at least seven years before the first moment I would say aloud (very anxiously) the words “I think I might be gay.” I was still living in a small town attending a conservative evangelical church. I sang in an evangelical touring choir! At least 99% of the people I could categorize as friends were members of either the choir or very similar churches. I lived in a state of constant fear of someone not just calling me a fag (which happened all the time at school), but of deciding that it was actually true. I was constantly monitoring myself, trying to stop myself from saying things that didn’t conform to people’s expectations, trying to stop myself from doing things that didn’t conform, from admitting to liking things that people didn’t think a normal guy should like, and so forth.
And there, on the screen (not to mention sitting all around me) were people flaunting and reveling in nonconformity. Specifically sexual nonconformity!
It blew my mind.I was pulled into the movie. All the audience participation, the local cast, and everything that wasn’t happening on the screen just vanished for the rest of the movie. It didn’t matter. I just wanted to know what would happen next on screen.
I tried to talk about the plot of the movie with my friends during the drive home after. They were immensely amused that I actually followed the show for the plot. They insisted the movie was just an excuse for the audience to yell and leer. “It doesn’t really have a plot!”
I didn’t see it again for several years. But by then I could sing along to most of the songs, because I’d gotten hold of the soundtrack and listened to it about a million times. The audience participation bits had changed in those years. And when I saw it in a theatre one more time a few years later, they had changed further. I am a huge Rocky Horror fan who doesn’t know most of the audience participation stuff.
The movie is meant to be a parody of all those schlocky sci fi and horror films particularly of the 50s and 60s. The story isn’t meant to be literature. But the film isn’t, really about the story. It’s about taking what was subtext everywhere else—coded homosexual relationships, homoerotic tension (whether intentional or not), sexual relationships of all kinds—and making it manifest. Frank N Furter builds a man for the express purpose of being his sexual plaything, for goodness sake! Several of the characters are casually bisexual or pansexual, but the fact that traditional romances also involve sex (which films and stories before that virtually never acknowledged) is also shoved front and center.
The film doesn’t just poke fun at convention and conformity of all kinds, it dresses convention up in fishnet stockings and makes it sing and dance about why noncomfority is great.
Over the years I’ve watched the film many, many times at home, thanks to availability on VHS back in the day and later DVD. I’ve also attended a couple of live performances of the stage version, as well as really, really enjoying last year’s Rocky Horror Show LIVE by the BBC. I was thus really hopeful about the Fox remake of the film starring trans actress Laverne Cox… and I was sorely disappointed. They were both too timid and too slavishly committed to imitating the 1975 film. There were good moment. I’m happy to see that Tim Curry is able to work, despite the severe stroke he suffered a few years ago. And Adam Lambert rocked the Eddie role, but many of the other casting and design choices were… well, not good.
The BBC version of the live performance (with rotating actors playing the Criminologist–Anthony Stewart Head among them) is available in its entirely on YouTube. I quite enjoyed streaming it to my TV via the YouTube app on my Apple TV last week after watching the Fox version. And the original is available in many formats.
The Rocky Horror Picture Show is a parody of many sci fi and horror movies, but that doesn’t mean it isn’t sci fi itself. Particularly if you define speculative fiction the way that my new favorite author, Nisi Shawl sometimes does: fiction that de-privileges the status quo. Rocky Horror does that, in spades, while celebrating the outsider, the misfits, and the freaks (and showing that there’s at least a little bit of a freak inside everyone). I wasn’t ready to come out after watching it the first time, but it was another step down the path of realizing that this queer sci fi geek was not alone in the world, and that it isn’t enough to just dream it, you have to let yourself be it.
Just a bit over 26 years ago I met a boy…
He was 25 years old, so not really a boy, but then I was only 29. I wasn’t completely out of the closet, yet. I regularly went dancing at a gay country bar, and I had just started singing with a newly formed lesbian & gay chorus, so I wasn’t deeply closeted, either. But as far as I knew at the time, other than one cousin none of my family knew I was gay. And only a few of my long-term friends knew.
Ray and I met online on a gay BBS system, and after lots of chatting over several weeks, had finally agreed to meet at a restaurant. I had trouble finding him, because he forgot to tell me that he’d recently dyed his hair. I wasn’t looking for a redhead.
I suspected he was a keeper when I saw the small bookcase beside his bed. I knew he was a keeper when we talked about one particular worn hardback. Not because of which book it was, but because he had a favorite book that he re-read several times a year. And talking about it made him start talking very animatedly about a lot of his other favorite books.
We’d been officially dating for a few months when he first told me that he liked to write. He hadn’t mentioned it before because I earned my living as a technical writer, and while my fiction had mostly been published in small, non-paying ‘zines, he was a little nervous about showing me his work. Turned out he’d never shown anyone his writing before. He had a bit of an inferiority complex about his education: he’d dropped out of high school after his father died to go to work to help his mom support his younger siblings. He had since gotten his GED and taken some community college classes, but he wasn’t confident in his writing skills.
I asked him if he wanted my honest opinion. I admit I was a bit nervous, too. What if I hated his work and couldn’t hide it? Fortunately, the first story he showed me wasn’t bad. It needed work. But he was happy to receive critiques and borrow some of my books about the writing process.
He kept working at it. Revising, writing, reading. He started occasionally sharing his work with other people. He even managed to get a couple of stories published in small ‘zines.
Then he got sick. When the doctors first told us he had two years or less to live, I refused to believe it. I was certain we were going to beat this. For the next few years there were lots of tests, treatments, a few scary visits to the ER, and then chemotherapy.
One night just over three years after they had told us he had less than two years to live (seven years and three months after our first date) he had a seizure and fell into a coma. I spent the next several days sitting beside his bed in an intensive care unit, waiting for him to wake up. But it wasn’t to be.
During the weeks afterward I went through his things, with help from his mother and sister. In the cabinet under the night table on his side of the bed, inside an envelope that said, “No Peeking!” I found a small package wrapped with Christmas paper, with a gift tag that said, “To Gene, Love Ray.” I didn’t open it. But the package was the size of a paperback book. And in another envelope in the same cabinet were two identical copies of a paperback anthology, along with some correspondence from the editor of the anthology.
He had sold two short stories that were included in that anthology. He’d sold them the year before, and had received copies of the book nine months before he died. And he’d never said a word to me about it. He’d wanted it to be a surprise.
He had a deadline for another anthology with the same editor coming up. I couldn’t figure out which of the stories he had on his computer he had intended to submit. I wrote to the editor and explained that Ray had died. The editor sent a very thoughtful condolence note back.
Ray had made his first professional fiction sale—two stories! —a mere six years after shyly admitting he was afraid to show his work to other people, but didn’t tell me because he wanted to see the expression on my face when I opened the package Christmas morning. I wish I’d known. I wish I’d been able to tell him how proud I was of him. I wish I’d been able to grab a Sharpie, hold the book out to him, and ask for his autograph.
Make no mistake, I love my husband, Michael. Every time I see his smile, I feel like the luckiest man in world. But I loved Ray, too. I miss him. I wish he had lived to see the repeal of Don’t Ask, Don’t Tell, to see the citizens of our state vote to give same-sex couples the right to marry, to see the Supreme Court overturn the Defense of Marriage Act, and of course to see that same court make marriage equality the law of the land.
This week Michael and I are going through our things, hauling stuff to Goodwill and so forth. We’re both packrats from long lines of packrats, so we have to do these purges every year or so. I tend to hang onto things, and I get overly sentimental over a lot of those things. I had a couple of rough moments Monday. One was when I came across the book with Ray’s stories on a shelf. Another was when I was pulling plushies from another shelf and found a small, peach-colored Teddy Bear. Only a few weeks after we started dating, Ray had to fly to Georgia for a business obligation. He picked up the teddy bear for me and a coffee mug for himself in a souvenir shop. Yes, 26 years later, I still have the “Georgia On My Mind” mug, and I still think of it as Ray’s mug.If he’d lived, today would have been Ray’s 52nd birthday. That’s right, our birthdays were only two days apart. We usually wound up celebrating both birthdays together with his family, and then would celebrate just the two of us on our actual birthdays. I assume that that is the reason that I start getting a bit depressed and moody every September. I can’t think about my birthday coming up without thinking about his birthday that we don’t get to celebrate.
I would love to see his goofy grin over a cake covered with candles at least one more time.
I had never heard of this particular novel, but the description on the back cover was intriguing, and since he had such a reputation, I felt almost obligated to read more of his work.
The story is set a billion years in the future, in the city of Diaspar, which is the last home of mankind. Humans are effectively immortal. Individuals are “born” nearly full grown in essentially replicators, and they live in the perfect unchanging city creating art and exploring philosophy or literature or poetry for hundreds or even thousands of years, until they decide to rest, at which point their memories are transferred back to the central memory banks and their bodies un-replicated. Until some random interval later when the computer will determine they need to be reborn again.
Into this world is born our protagonist, Alvin, who has no memory of a past life… Read More…
I learned to type on my mom’s Easter pink Smith-Corona Silent-Super typewriter. I was ten years old, when Mom decided that I since I couldn’t keep my hands off it, she should teach me the proper way to use it. So she set me up with her old How to Type book it wasn’t long before I was whizzing along, hitting about 60 words per minute on the little mechanical wonder.
When I was twelve, my paternal grandmother gave me her 1952 Remington Letter-Riter. It was a much heavier typewriter than the Silent-Super in every way. Pushing the keys took more effort, and the typewriter was built like a tank. It also had a slightly different keyboard arrangement, more traditional than the Silent-Super. Older mechanical typewriters didn’t have a 1 (one) key. If you needed to type a 1, you’d use a lowercase l (el) instead. There also wasn’t an exclamation point. To type !, you would type a period, then backspace and type an apostrophe. There was no + (plus) sign or = (equals) sign, though it did have a key for ½ (half) and ¼ (quarter).If you click on the image, you might also notice that the symbols on the top of the number keys are different than a modern computer keyboard, as well. You got quotation marks by pressing shift-2 instead of being on its own key, while the apostrophe was shift-8, and underscore was shift-6. The @ symbol and ¢ (cents) sign were on their own key, over where modern computer keyboards usually put the quotation and apostrophe key. The Silent-Super had a 1-key and exclamation point. The arrangement was otherwise the same, though the size and shapes of the keys—particularly the tab, backspace, and shift—were different. My grandmother had a newer typewriter that had a lot of special keys, such as a £ (pound currency) symbol, a ÷ (division) symbol, + and =, (greater-than) and even a \ (backslash). She was an accountant and that typewriter was aimed at financial offices. Anyway, I also occasionally typed on her machine, with its own slightly different layout, and I could got just as fast on any of them.
In high school I finally took an actual typing class, which was the first time I typed on an IBM Selectric keyboard. It wasn’t a manual typewrite. It was still mechanical in that a physical object had to strike an inked ribbon and sheet of paper to make the letters, but the force was delivered by an electric motor instead of my fingers. It was much more like a computer keyboard in that way. The amount of force to press the key was practically nothing compared to the manual typewriter. It is still the funniest thing to see when I run a Writers Round Robin event at a convention: people too young to have used a typewriter really freak out at how hard you have to press the keys to make the letters appear.
I didn’t need the typing class to learn to type, I was already proficient at touch typing, but back in the 70s you actually had to have passed a typing class to get into some journalism programs and the like when you moved on to university, so I took the class for the credit. The teacher was a little shocked with I did more than 100 words per minute on the first speed test. Since it was early in the course, I wasn’t typing real words, I was just typing groups of four letters from the home row from a slide she was showing us, something like: “jfjfj kkkk dddd jkjkj fdfd jkl; fdsa”
I told her I already knew how to type, so she grabbed a sample letter to copy and made me take the test again, this time reading the letter and transcribing it. I still was over 100 words per minute.
Over the years I’ve gotten used to various computer keyboards. The old clack-clack IBM Model M that many people still love, being just one of many. And many of them have some keys in unusual places. Some have keys that others don’t. And I take to all of them pretty quickly. I would be slightly surprised when some people complained about a couple of moved keys. It usually took me only a few minutes to acclimate to a new layout.
I was a little surprised, when my husband finally got me to use an iPod Touch, at how quickly I adapted to thumb-typing on a small keyboard where I couldn’t feel the keys at all. My favorite app for a long time was WriteRoom for iOS (it had its own automatic cloud sync back before services like Dropbox were around), and I would write scenes on the bus on my way to work each morning. One time while I was doing that, a bunch of the bus passengers all started turning around and staring at me. So much that I noticed and looked up.
It took me a couple of minutes to figure out what had happened. Somehow the settings had changed, and the iPod was making key noises through its speaker. I had my headphones on playing musc (also from the iPod), and couldn’t hear the keyclicks. I found the setting and turned it off. I said, “Sorry about that” sheepishly. One of the other passengers chuckled and said, “I just never heard anyone text that fast and that long before!” So I explained that I was actually writing a book. “On your phone?” And then I had to explain that it wasn’t even a phone.
It shouldn’t have surprised me, some years later, at how quickly I took to the iPad’s virtual keyboard. When Michael and I bought our first iPad (the iPad 2, we waited for the second model), we weren’t certain we would actually use it and not treat it as a temporary toy. So we only bought one to share. I would take it to work one day, he would take it the next, and so on. It wasn’t long before it was clear that both of us needed our own.
At the time, my employer-provided Dell laptop had become a faux laptop. The battery wouldn’t hold a charge for more than about 10 minutes (we never did get new batteries as promised, of course). So it was useless for taking to meetings. And I frequently need to take notes at meetings or look things up to answer questions, so that was a bummer. Except I started taking the iPad, instead, and I could look up some work things without even logging in a VM. But the part that surprised me was how easy I switched to typing long, detailed notes during the meeting on the virtual keyboard. I do find it slightly annoying switching between numbers, other symbols, and back to letters. Mostly because the key to move from numbers to symbols is not in the same location as the key to move from letters to numbers. But otherwise, I’m okay typing on the virtual keyboard.
I do have a bluetooth keyboard that I use if I know I’m going to do a really long typing session. My hubby gave me a nice solar-powered one a few years ago. It is really nice, but it requires me carrying around a bag, since it is bigger than the iPad.
So I’ve been looking at keyboard cases off and on. My husband has had a couple of them. I think his favorite is a fairly high end Logitech. I’ve tried his, and they’re pretty good.But I wasn’t convinced that I should spend the money on one for myself. But I keep wishing when I’m at conventions and similar events, that I had a more portable version of my Bluetooth keyboard. Then last week, I noticed that one of the models I’ve had in my private wishlist had come down in price a bit, and NorWesCon is coming up, so I bought it. It isn’t bad. Several reviews of it complained about the backspace being so tiny and the placement of a few other keys, but it only took me three tweets before I was hitting it correctly.
The keyboard itself feels fairly solid, but the case as a whole is a little flimsy. I suspect that if I carried it back and forth to the office in my backpack with this case that the keyboard would get enough wear and tear to account for the small number of reviews complaining about the keyboard dying after only a few months. I don’t currently plan to carry the iPad in the case most of the time. I can do the type of typing/note taking I do on the iPad at work just as easily with the virtual keyboard. It is definitely easier to type on than the virtual keyboard, and the keys feel nice enough. Not as good as my solar Logitech, but perfectly usuable.
It’s not as if I don’t already have multiple keyboards for just about every device. Because I am a keyboard addict.
I think it was the fall of 1971 (I would have been eleven) when I saw the listing, and the name and very short description had me intrigued. Unfortunately, I wasn’t able to convince my parents to let me have the movie trip.
About a year later The Andromeda Strain was broadcast on network TV, probably as a movie of the week (that was a thing back then), and for whatever reason, we didn’t watch the first part of the movie. Probably it conflicted with a show my dad liked, so we watched the other show, first, then switched channels and watched the last half of the movie. So I was a bit confused, but it was still pretty exciting. The last part of the film was very tense and entertaining, even without the beginning.
The following week in school, everyone was talking about the movie. It was one of the few times that I remember kids who usually didn’t know a thing about science fiction talking about a sci fi plot.
Not long afterward, I happened across a battered paperback copy of Michael Crichton’s novel upon which the movie was based. I read it in a single sitting. One of the things that amazed me when I finished was how closely the half of the movie I saw followed the latter portion of the book. My previous experience of comparing movies to the books they were based on was that the movie often bore virtually no resemblance to the book.
The story of the Andromeda Strain is that a space probe is sent into low earth orbit and brought back down. It lands in a small, isolated town, and by the time the retrieval team arrives to pick it up, it seems that every inhabitant of the town has been killed. The retrieval team dies will communicating with their government superiors, and a Wildfire alert is activated. Wildfire is a codename for protocol government scientists have put together to respond to a biological threat from space. A team of scientists are pulled from their regular jobs and rushed to a secret underground facility. Two of the scientists go into the town in hazmat suits, find the satellite, and also find two survivors, an old man and a crying infant. The bulk of the story deals with how the scientists figure out what the infection is, and why those two very different characters are immune.
Before they have quite figured everything out, the extraterrestrial organism (which is neither a virus nor a bacterium) mutates and starts eating the plastics and rubber seals throughout the lab. This sets off an alarm and starts an automatic countdown on a nuclear self-destruct device. One of the things the scientists have determined about the organism is that it is not only immune to radiation, but will actually thrive in the explosion, and probably destroy all life on the planet. Thus we get to the tense ending where the characters are trying to stop the self-destruct and find a way to neutralize the infection.
One of the things that disappointed me about the book was that one of the most interesting characters in the movie, Dr. Ruth Leavitt, was a much less interesting man, Dr. Paul Leavitt, in the novel. I’m not sure if the character in the movie was more interesting because the actress, Kate Reid, played a very believable character, or if the character was just less interesting in the original.Some time later, when I got to watch the movie all the way through for the first time, I was even more impressed with Reid’s character and the way the filmmakers used her. It was far more common for the token female character in either thrillers or sci fi films to be played by a young, glamorous actress, who was there more as eye-candy than to actually participate in the story. Leavitt wasn’t like that. There are some, I’m sure, who will argue that the filmmakers went overboard, putting Reid in those large unflattering glasses, and generally looking dowdy. But the filmmakers didn’t dress up any of the male scientists any differently. Even the casual way she smoked her cigarettes, never doing any of those delicate movie star poses that were more common when actresses were shown smoking at the time, just fit with the character’s personality.
I re-read The Andromeda Strain at least once more after seeing the movie all the way through, and I still found Reid’s version of the Leavitt character more interesting. And this was decades before I’d ever heard of the Bechdel Test!
The Andromeda Strain was a bestseller, and set Michael Crichton on the path of future success that would lead to, among other things, Jurassic Park. The movie was only a moderate success, which is too bad, because it was really well done. The science included was, for the most part, plausible at time. In fact, nothing in the film required any sort of advancement of technology beyond what we had available. Exactly how the life form could convert energy to matter was the only bit of dubious handwaving to speak of. It wasn’t the only time that the movie version of a science fiction story was better than the book, but I think it might have been the first time that I noticed it.
I posted a bit of a ramble about how I first encountered the book Chariots of the Gods? back in 1971 and how by 1972 the book had infected the collective consciousness enough that multiple evangelical pastors were feeling the need to preach sermons against it. The first U.S. paperback edition was published either just before or during my fourth grade in elementary school. At that point, in the U.S., the book had not yet become a bestseller. So the ancient alien ideas, and specific references to Erich von Däniken’s
hack history theories about how aliens had influenced the course of human history were just trickling into my life.
I promised a weird tale involving phosphorescent chalk and lime green three-piece suits, and that’s coming, I promise! So, fast forward to 1973… Read More…