M is for The Metamorphosis

I was going to write about The Minority Report for the letter “M”, but since I’ve already written a post about that (see here), I decided to talk about Franz Kafka’s The Metamorphosis instead. ***Note to readers, this post has a fair amount of spoilers, so please read with caution.

My first attempt to read the novella was somewhat underwhelming. It seemed dull and depressing, and I couldn’t help but wonder what all the fuss was about. But I read it for the second time earlier this year, right on the heels of Orson Scott Card’s Ender’s Game, and what Kafka was attempting to say finally hit home for me.

For those of you who aren't familiar with The Metamorphosis, the protagonist, Gregor Samsa, wakes up one morning to find that he’s been transformed into a giant insect. Personally I still wish Kafka explained how this happened, but that’s not really the point of the story. The 1986 film The Fly, however, is more than happy to make up the difference.

Anyway, The Metamorphosis focuses on the more poignant plight of a human being who, because of his new physical form and subsequent inability to communicate with his family, becomes alienated from human society. The alienation doesn’t happen immediately; for the first two sections of the novella, Gregor’s sister is very attentive. She assists his adjustment to life as an insect by moving around the furniture in his room and offering him different meal options as he no longer can tolerate eating the food he favored previously. However, as time passes she becomes more and more detached from him, to the point where she no longer believes her brother's mind exists within the beastly form. By story’s end she rejects him completely and tells their parents, “You’ve got to get rid of the idea that that’s Gregor. We’ve only harmed ourselves by believing it for so long.”

As you can see, Gregor’s story is a tragic one. The reader, who knows his thoughts even when his family does not, has to watch as he slowly becomes more and more insect-like in his habits while still trying to maintain some hold on his former life. At first he’s pleased when his sister moved things out of his room in order to free up more climbing space, but quickly becomes distressed at losing all of his former humanly possession. I find the scene where he tries desperately to save a single painting hung on the wall utterly heartbreaking. And as his family slowly becomes more and more repulsed by him, he longs to talk to them, to tell them he’s still there beneath the exterior. But he cannot, and his inability to communicate with them leads to his ultimate demise.

This concept of alienation through lack of communication is one of the things that struck me most about Ender’s Game. Humans and the alien Formics wage war against one another not because of duel need for natural resources, or hate, or attempted domination, but because they simply cannot understand one another. After Ender has defeated them in battle and then comes across an unborn Formic queen, she tells him, “We thought we were the only thinking beings in the universe, until we met you, but never did we dream that thought could arise from the lonely animals that cannot dream each other’s dreams. How were we to know? We could live with you in peace . . . If only we could have talked to you . . . Instead we killed each other.” Her speech - the first real correspondence between the the two races, emphasizes just how detrimental their communication barriers have been to their lives. 

Major Spoilers: Unlike Gregor, the Formics at least find one person they can connect with in Ender. He becomes the Speaker for the Dead, and their hope to one day live again. He tells the Formic queen, “I’ll carry you. I’ll go from world to world until I find a time and place where you can come awake in safety. And I’ll tell your story to my people, so that perhaps in time they can forgive you, too. The way that you’ve forgiven me.” Thus he assures the Formics, and the reader, that perhaps there is hope for both societies to one day flourish side by side. 

Though these two stories have decidedly different outcomes in the end, they each ask the same question: Are “aliens” really so different from us? Or is it our inability to communicate with them that alienates the species from one another? The question is not one simply born of science fiction, but relevant to the world outside literature. Culture clashes are a significant aspect of modern politics, and I sometimes wonder if all this conflict might not be a product of an inability to communicate.

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This post is part of the Blogging A through Z Challenge 2012. My theme is (in case you didn’t already guess) science fiction. Stay tuned for the rest of the alphabet, and if you’d like to check in on the rest of the participants, simply click here.

L is for Lottery: Government Control in Sci-Fi

The idea of an ominous lottery is no new concept – Shirley Jackson received horrified reactions after publishing a short story called “The Lottery” (1948), in which the “winner” gets stoned to death at the end of the piece. However, the concept has grown fiercely in popularity and made its way into some of the greatest works of science fiction.

On the surface, lotteries appear to be the perfect vehicle for equalization. Every single person has the exact same chances to win, giving the appearance of an egalitarian society. However, I the perceived equality is not always genuine. Instead, lotteries are often used as a mean of control. Philip K. Dick played with this idea in Solar Lottery (1955). The head of the world government, called the Quizmaster, is chosen through a computerized lottery where citizens’ power cards are picked at random. Since every citizen receives a power card at birth, the lottery appears to be equal. However, “P-cards” are often given to one of the five major corporations – or the five Hills – that run the planet’s industry as a sign of fealty, and thus the corporation heads hold the majority of the power cards, receiving a direct advantage. This basically mean that the corporations themselves have an imbalanced opportunity for control.

Some sci-fi novels depict lotteries used as a means for governmental genetic engineering. In Larry Niven’s Ringworld, an alien race called Pierson’s Puppeteers set up a program for breeding luck into human reproduction; luck is a trait the Puppeteers considered hereditary and, more importantly, vital to their expedition to Ringworld. In order to achieve their goal, they use the government’s control of overpopulation via strict fertility laws limiting families to only one offspring. Families who wanted more than one child enter the Birthright Lottery, which allowed the winners to have multiple children. Parents with better fortune were more likely to win and pass their hereditary good luck to their children. Teela Brown, one of the novel’s main characters and a crew member of the Puppeteers expedition, was the product of six generations of Birthright winners.

Speaking of genetic engineering, you may remember that I mentioned the movie The Island and its clones for my previous “I” post. In the film, the clones all live in a secluded underground compound where their daily lives are monitored and restricted by mysterious doctors. The one bright spot in their existence is the daily drawing, whereby they can win a chance to relocate to the idealistic “Island”. The scientists  running the facility use this lottery, and the hope that it provides, to keep   the clones from asking too many questions, or rising up against their oppressors and jeopardizing the entire operation. In other words, it’s control via hope.

Still, my favorite example of a lottery in science fiction comes from The Hunger Games series. Referred to as the Reaping, the lottery decides which children from the twelve districts will be forced to compete in the Games. The name of every child between the ages of twelve and eighteen gets put into the Reaping, with the option of entering additional times in exchange for extra food rations. The Hunger Games then acts not only as a form of punishment for the twelve districts' previous rebellion against the Capital, but, though the lottery, doubles as a tool for government monitoring. In essence it allows the Capitol to rule over a larger, and physically distant, subordinate populace.

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This post is part of the Blogging A through Z Challenge 2012. My theme is (in case you didn’t already guess) science fiction. Stay tuned for the rest of the alphabet, and if you’d like to check in on the rest of the participants, simply click here.

K is for Kings of Sci-Fi

Finally it's here, the much anticipated (on my part) Kings of Sci-Fi post. I’ve been looking forward to this one the whole A-Z challenge, because for this post I’m going to talk about a few of the biggest names in the film industry . . . and the science fiction genre.

Steven Spielberg –

Spielberg is without a doubt one of the most prolific workers on this list. He's played a role, as either writer or director, on an incredible list of sci-fi films, including:

Close Encounters of the Third Kind (1977)

- ET (1982)

- Jurassic Park (1993, 1997, 2001)

- A.I. (2001)

- Minority Report (2002)

- War of the Worlds (2005)

He also acted as executive produced on Terra Nova TV series (2011), Falling Skies TV series (2011), Cowboys and Aliens (2011), Eagle Eye (2008), Back to the Future (1985, 1989), Transformers (2007, 2009, 2011) and Men in Black (1997, 2002, 2012). . . just for the record.

George Lucas –

Just about everyone in the world knows George Lucas's outstanding contribution to the world of sci-fi . . . Star Wars. Though he’s worked on other things (including the famous Indiana Jones), it’s Star Wars that science fiction nerds will worship for years to come.

James Cameron –

Cameron is, without a doubt, one of the most gifted directors in Hollywood. The Terminator, his first addition to the science fiction arena, has the distinction of also being my favorite movie of all times. 

- The Terminator (1984) 

- Terminator 2: Judgment Day (1991)

- Aliens (1986)

- The Abyss (1989)

- Dark Angel tv series (produced, 2002)

- Avatar (2009)

Ridley Scott –

Ridley Scott is known for being somewhat difficult to work with, but no one can deny the man's genius. And his upcoming movie, Prometheus, might be the most anticipated movie of 2012. At least in my book. 

- Alien (1979)

- Blade Runner (1982)

- Prophets of Science Fiction tv series (2011-2012)

- Prometheus (2012)

Joss Whedon –

I'm sure everyone's getting sick of hearing me gush about Joss Whedon, but I can't seem to help myself. Check out his list of credits and you'll see why:

- Buffy the Vampire Slayer (1992) 

- Buffy the Vampire Slayer TV series (1996-2003)

- Angel TV series (1999-2004)

- Alien Resurrection (wrote only, 1997)

- Titan AE (wrote, 2000)

- Firefly (2002-2003)  

- Serenity (2005)

- Dr. Horrible’s Sing-Along Blog (2008)   

- Dollhouse TV series (2009-2010)

- The Avengers (2012)

J. J. Abrams –

I have to admit, I was never that big a Star Trek fan (unforgivable in a sci-fi nerd, I know), but Abrams changed my mind with this most recent version. I'm really looking forward to it's sequel. 

- Armageddon (wrote, 1998)

- Lost TV series (2004-2012)

- Cloverfield (produced, 2008)

- Fringe TV series (2008-2012)

- Star Trek (2009)

- Super 8 (2011)

Will Smith –

Will Smith might have started out as a rapper, but he it was his work in the sci-fi field that made him really famous. It's just not really summertime without a blockbuster film with Will Smith battling a few aliens. 

- Independence Day (1996)

- Men in Black (1997, 2002 and 2012)

- I , Robot (2004)

- I am Legend (2004)

- Hancock (2007)

Michael Biehn –

I think it's such a shame that Michael Biehn never made it bigger in Hollywood as he's one of my favorite actors. He has the distinction of being one of Cameron's favorite actors to work with, and has been in two of the biggest sci-fi franchises of all time. 

- The Terminator (1984)

- Aliens (1986)

- The Abyss (1989)

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This post is part of the Blogging A through Z Challenge 2012. My theme is (in case you didn’t already guess) science fiction. Stay tuned for the rest of the alphabet, and if you’d like to check in on the rest of the participants, simply click here.

J is for The Jetsons and Agent J

Many of my posts so far (apart from F for Fifth Element and Firefly) have been a little on the heavy side, so I thought for today’s post I would focus on something a little more fun.

What are two most popular topics of science fiction? Robots and Aliens. As a kid to me that didn’t mean extraterrestrials trying to take over the world or machines picking off humans one by one – it meant the Jetsons and the Men in Black.

The Jetsons are the perfect futuristic family – hard-working dad, beautiful mom, two kids, one dog . . . and a beloved robotic maid named Rosey. They even have a little alien pet named Orbitty that changes colors to express his emotions. The Jetsons exemplify the ideal android/human relationship, living and working in tandem, offering one another affection and companionship. Rosey helps the kids with homework, plays football with Elroy, and gives advice to Jane. Similarly, George treats his work computer R.U.D.I. like a dear friend.  It's a decidedly different vision from most science fiction (like The Terminator or I, Robot), where machines are something to be feared. Clearly in this society robots and people have learned how to peacefully coexist.  Let's hope this is the vision of our future. 

Men in Black on the other hand, depicts an Earth secretly inhabited by aliens. James Darrell Edwards III – aka. Agent J – is more than a little surprised when he learns of their existence, but nevertheless allows himself to be recruited into the MIB and thus becomes the vehicle through which the viewer experiences a world with alien interaction. While extraterrestrial and humans don’t live quite as peacefully as the Jetsons and their robot friends, there is certainly degree of cooperation and cordiality. In fact, we discover a few of our favorite celebrities are from other planets, including Danny DeVito, Sylvester Stallone, George Lucas, Steven Spielberg and Dennis Rodman. And for the record, I could not be more excited that they've made MIB 3, even in I'm concerned that it'll be a let down. 

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This post is part of the Blogging A through Z Challenge 2012. My theme is (in case you didn’t already guess) science fiction. Stay tuned for the rest of the alphabet, and if you’d like to check in on the rest of the participants, simply click here.

I is for Ishiguro and The Island

For today’s post I was planning on discussing a few of my favorite sci-fi movies that begin with the letter “I” (Inception, Independence Day, I Am Legend . . .). However, when I was doing my research I came across something else I couldn’t resist writing about, so instead I’m going to be talking about two of my favorite pieces of science fiction:

Never Let Me Go is the 2005 novel written by Kazuo Ishiguro. The three protagonists of the novel are friends – Tommy, Ruth and Kathy – raised together at Hailsham Boarding School in England. They’re also clones. All the children at Hailsham are, created and raised as organ donors for non-clones, or originals.

The most interesting thing about the novel is the attitude toward these human replications. For the most part they’re considered soulless beings whose only purpose in life is to provide for originals. The clones themselves merely accept their fate, knowing that after leaving school they will make several donations before eventually “completing” (aka. dying). They never rebel against their hopeless situation or impending fate. The only form of protest comes from the boarding school itself. Spoilers: The reader discovers that Hailsham was built as an experiment in order to study their genetically duplicated pupils with the intention of determining whether clones do (against popular opinion) have souls.

Sci-fi film The Island draws on a similar theme. Like Never Let Me Go, the plot centers on a society of clones being raised as organ donors. Spoilers: However, the clones in the film aren’t actually aware that they’re replications, and their originals have no idea that they’re awake, let alone cognizant beings. Though the doctors take every measure to keep the clones ignorant and docile, one – Lincoln Six Echo – starts to emotionally progress beyond regulation and develops unprecedented discontent with his life. It is, for lack of a better word, the evolution of an enlightened being; against all precaution, Lincoln Six Echo has become an individual.

Both movie and novel then make me wonder, what is it that divides “us” from “them”? What makes clones any different from their originals? Genetically they’re certainly the same; duplicates in fact. Why then should we believe they lack a soul? Is it a question of religion and morality, or one of convenience. Clones would, after all, cease to be mere organ incubators were they recognized as “real” people.

In Brave New World the cloning process is one which alienates society from individuality, but the clones in The Island and Never Let Me Go are full of passion, love, fear, emotion . . . humanity. And yet they’re considered soulless beings (if beings at all). More often they’re perceived as simply another technological advancement in the quest to extend the natural lifespan.

What then constitutes a soul? How do we define it? Can it be replicated? And most importantly, is that what makes us human?

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This post is part of the Blogging A through Z Challenge 2012. My theme is (in case you didn’t already guess) science fiction. Stay tuned for the rest of the alphabet, and if you’d like to check in on the rest of the participants, simply click here.

H is for Heinlein, Hubbard, Herbert and Huxley: Four Horsemen of the Sci-Fi-pocalypse

Robert A. Heinlein is one of the most famous names in sci-fi. He's considered one of the "Big Three" - along with Arthur C. Clark and Isaac Asimov - and written famous works such as Stranger in a Strange Land, Invasion of the Bodysnatchers, and Starship Troopers. But perhaps even more noteworthy are his other contributions to the field. Heinlein was one of the authors who helped lead the genre out of mediocrity and “pulp” status, and into literary significance. Heinlein considered it of the utmost importance that everything space related in his novels be mathematically accurate and scientifically plausible, making his works much more realistic than their predecessors. Furthermore, his novels leave behind the early "space opera" configuration and instead focus on important social issues, such as liberty and government, sexuality and religion. It is because of Heinlein's influence that selected science fiction works are now accepted into the literary canon.

Even readers who have no interest in the science fiction genre have heard of the infamous L. Rob Hubbard. Hubbard first came into the public eye through his contributions to popular pulp fiction magazines in the 1930’s, most notably Astounding Science Fiction. There he began a close professional relationship with the magazine’s editor, John W. Campbell, who Isaac Asimov described as the “most powerful force in science fiction”, and credited with shaping the Golden Age of Science Fiction. Campbell helped Hubbard test out his theory of Dianetics, and published a paper on it in Astounding. It was with Campbell’s – and the science fiction magazine’s – help that Hubbard was able to expand Dianetics into the organization that made Hubbard famous, The Church of Scientology.

Frank Herbert is without a doubt one of the most commercially successful science fiction writers. In fact, his most famous novel - Dune - is the bestselling sci-fi novel of all time. Compared with Heinlein's seminal Stranger in a Stranger Land, Dune marks a shift away from pulp fiction and into literary significance. Furthermore, Herbert changed the direction of sci-fi by focusing on technology’s affect on humanity within his stories, rather than writing a story for the sake of technological advancement alone. Herbert deliberately suppressed technological elements within the Dune series in order to focus on more character driven aspects; this successful approach marks him as the creator of a new sub-genre within the field – "Ecological" Science Fiction.

Last but not least, I’d like to discuss the great Aldous Huxley. Heinlein and Herbert were instrumental in elevating the quality and public opinion of science fiction, but it was Huxley that finally cracked his way into the literary canon. Along with Orwell’s 1984, Brave New World is one of the only sci-fi novels I remember reading as part of my high school curriculum. Furthermore, Brave New World was ranked fifth after Ulysses, The Great Gatsby and Lolita in Modern Library’s “100 Best English-Language Novels of the 20th Century”. This is a remarkable shift from previous sci-fi works that critics barely considered literature. Brave New World marks a perfect blend between scientific and technological advancement, and the social and moral issues that define human society.

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This post is part of the Blogging A through Z Challenge 2012. My theme is (in case you didn’t already guess) science fiction. Stay tuned for the rest of the alphabet, and if you’d like to check in on the rest of the participants, simply click here.

Why My Family Is Cooler Than Yours – Easter Style

Though I’m in my late twenties, I still haven’t gotten over my love of dying eggs, and luckily my family likes to indulge me. This year was no exception.

Anyone who’s ever dyed Easter eggs knows how hard it is to get them brightly colored. I swear that every year the dye gets less and less potent, and while the Easter holiday may be teeming with pastels, my Easter eggs shouldn't be! Lightly colored eggs might not bother most families, but it absolutely bothers mine. Side note: My family is a tad bit on the competitive side. One Easter we wound up going to Wal-Mart at midnight to procure a second – and then third – box of dye so we could have the very best eggs. Holiday decorations are a contact sport in the Hennessy family. 

However, this year when the brand of egg dye we prefer was nowhere to be found, we were forced to use something substandard. The horror! And it did not go well. The first round came out pale and weak – the Draco Malfoy of eggs. Fortunatly, this time we were prepared. We busted out our box of back-up dye and tried it again, adjusting the ratios of water, vinegar and lemon like mad scientists. And while they didn't come out much better, my mom and I had a terrific time making a mess. (My dad tried to steer clear of the chaos.)

The final product still had a few . . . kinks.

But the fun doesn't stop there. A few years ago my mom, cousin and I saw this picture in a magazine where you add hats, ears and tails to the eggs to turn Easter eggs into Easter bunnies. It’s now become an annual project which we’ve dubbed “Hats Off to You” (named thus for the tiny hats they wear). And due once again to our competitive nature, each year we get a little more creative. So while our eggs started out pretty straight forward, it's evolved into this:

Sadly this year my cousin Allie, who’s away at college, wasn’t able to make it home for Easter. We decided that my mom and I would dye the eggs ourselves, but wait to decorate them until she got home for the summer. Still, that didn’t stop us from strategizing . . .

And that, dear readers, is why my family is cooler than yours. Hope you all had a happy Easter (or Passover) and see you tomorrow for the letter "H" in the Blogging from A-Z Challenge.