• MT VOID, 08/25/23 -- Vol. 42, No. 8, Whole Number 2290

    From evelynchimelisleeper@gmail.com@21:1/5 to All on Sun Aug 27 08:41:51 2023
    08/25/23 -- Vol. 42, No. 8, Whole Number 2290

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    Middletown (NJ) Public Library Science Fiction Discussion
    Mark's Picks for Turner Classic Movies in September
    (comments by Mark R. Leeper)
    A STRANGER IN THE CITADEL by Tobias Buckell (book review
    by Joe Karpierz)
    (letter of comment by Taras Wolansky)
    This Week's Reading (UNTHINKING THINKING) (book comments
    by Evelyn C. Leeper)


    TOPIC: Middletown (NJ) Public Library Science Fiction Discussion

    The only local meetings left are in Middletown, and they are
    in-person. The best way to get the latest information is to be on
    the mailing list for it.

    Sept 14, 2023 [postponed from Sept 7]: THE ROAD (2009) & novel
    by Cormac McCarthy
    Oct 5, 2023: FANTASTIC PLANET (1973) & novel by Stefan Wul


    TOPIC: Mark's Picks for Turner Classic Movies in September
    (comments by Mark R. Leeper)

    One of more the more enjoyable choices for the month was at one
    time much looked for as being collectible. The film is the 1954
    GOJIRA (a.k.a. GODZILLA, as I probably do not have to inform the
    reader). This is perhaps the most serious monster movie ever
    made, and does not have cute pudgy oversized creatures of
    outlandish proportions. For this special showing it will be shown
    back-to-back with the second Godzilla film, GODZILLA RAIDS AGAIN.

    [GOJIRA (1954), Sunday, October 1, 2:00 AM]
    [GODZILLA RAIDS AGAIN (1955), Sunday, October 1, 4:00 AM]

    (Yes, I know those are technically in October. But TCM and other
    stations use what is sometimes referred to as "TV Guide time",
    which makes everything between midnight and 6AM part of the
    previous day. You would think with the advent of VCRs, DVRs, etc.,
    everyone would start listing the day one needs to program into the
    machine, but apparently not.)


    And some comments on some other films:

    THE BIG SLEEP (1946): The best-known anecdote about this film is
    that it was so confusing that when the studio asked writer Raymond
    Chandler who had killed the chauffeur, even Chandler didn't know.

    CHIMES AT MIDNIGHT (1967): When a film is made based on a play by
    Shakespeare, people often complain that parts are edited out or
    slightly modernized. Welles avoided this by making this (a.k.a.
    FALSTAFF) by piecing together parts of five different plays rather
    than claiming it to be a specific play.

    CROSSING DELANCEY (1988): A rom-com set where the uptown literary
    world and the downtown modern Orthodox world meet, with a great
    performance by Reizl Bozyk.

    GLENGARRY GLEN ROSS (1992): David Mamet's hyper-cynical take on the
    shady side of the business world.

    ISLE OF THE DEAD (1945): The look of this film was heavily
    influenced by Arnold Bocklin's painting "The Isle of the Dead",
    which is acknowledged in the credits.

    MY DINNER WITH ANDRE (1981): This film generated a number of
    parodies, as well as jokes, cartoons, and other pop culture
    references, but seems to have fallen off the radar in the
    intervening forty years.

    SEVEN BRIDES FOR SEVEN BROTHERS (1954): Who would have thought that
    Hollywood would make a musical based on the rape of the Sabine
    Women? Then again, Hollywood made a romantic comedy about a
    teenage girl being groomed to be a courtesan, complete with a song
    "Thank Heaven for Little Girls".


    Other films of interest include:

    SATURDAY, September 2
    8:00 PM The Ghost and Mr. Chicken (1966)

    MONDAY, September 4
    2:30 AM Baal (1970)

    TUESDAY, September 5
    3:15 AM Soylent Green (1973)

    WEDNESDAY, September 6
    6:00 PM Cabin in the Sky (1943)

    SUNDAY, September 10
    12:00 AM The Wrong Man (1956)
    6:00 AM The 39 Steps (1935)
    8:00 AM The Lady Vanishes (1938)
    10:00 AM The Wrong Man (1956)
    12:00 PM I Confess (1953)
    1:45 PM Vertigo (1958)
    4:00 PM Rear Window (1954)
    6:00 PM Psycho (1960)

    THURSDAY, September 14
    8:00 PM Duck Soup (1933)
    9:15 PM The Fearless Vampire Killers (1966)

    FRIDAY, September 15
    3:15 PM The Enchanted Cottage (1945)
    5:00 PM The Glass Slipper (1955)

    SATURDAY, September 16
    10:08 AM Mr. Hex (1946)

    SUNDAY, September 17
    11:00 PM Isle of the Dead (1945)

    MONDAY, September 18
    8:00 PM Them! (1954)
    10:00 PM Tarantula (1955)

    TUESDAY, September 19
    1:30 AM The Wasp Woman (1960)
    3:00 AM The Black Scorpion (1957)
    4:30 AM The Cosmic Monster (1958)

    WEDNESDAY, September 20
    12:00 AM Elevator to the Gallows (1958)
    11:45 AM The Great Dictator (1940)

    SATURDAY, September 23
    10:08 AM Spook Busters (1946)

    SUNDAY, September 24
    8:00 AM The Crimson Pirate (1952)
    5:45 PM Seance on a Wet Afternoon (1964)

    TUESDAY, September 26
    4:30 PM I Married an Angel (1942)

    WEDNESDAY, September 27
    4:45 PM Freaks (1932)

    THURSDAY, September 28
    10:00 AM House on Haunted Hill (1958)
    11:45 AM The Exterminating Angel (1962)

    SATURDAY, September 30
    4:00 AM Jungle Book (1942)

    SUNDAY, October 1
    2:00 AM Godzilla (1954)
    4:00 AM Godzilla Raids Again (1955)


    TOPIC: A STRANGER IN THE CITADEL by Tobias Buckell (copyright
    October 2023, Tachyon Publications, ISBN: 978-1-61696-398-9
    (print); 978-1-61696-399-6 (digital)) (book review by Joe Karpierz)

    A great number of reviews of Tobias Buckell's latest book, A
    STRANGER IN THE CITADEL, start out with the following tag line, the
    one that is meant to draw the reader in:

    "You shall not suffer a librarian to live."

    I will admit that it drew me in. Forbidden knowledge, citadels,
    book banning and burning--I mean, it sure reads like a summary of
    modern day life, doesn't it? But as I said, the line is meant to
    draw in the reader, for the book is about much more than that and
    really something other than that. Of course it is.

    Lilith lives in the walled city of Ninetha. She is a musketress of
    the citadel, and she and her twelve siblings are charged with
    protection of the city. The people of Ninetha are provided for by
    the cornucopia, a device left to them by the gods who demand that
    in exchange for the cornucopia the people abandon knowledge and the
    pursuit of it. Thus, books are banned, and anyone who is in
    possession of a book is condemned to die. Life is simple under
    this rule, and things are peaceful--until a traveler from outside
    the city wanders in with a book in his possession. Lilith's
    trainer, Kira, wants the "librarian" put to death on the spot.
    Lilith, being curious by nature, wants to learn more about the man.
    Kira tries to dissuade Lilith, but as Lilith's father is the leader
    of the city and she is in line for his position (should it ever get
    to that--she is the youngest of the 13), she pulls rank and has the
    man imprisoned instead.

    I've mentioned that Lilith is curious. She is too curious for her
    own good, as it turns out. She wonders what her other siblings are
    guarding in a room deep within the citadel, and manages to discover
    that they are guarding, of all things, a book. She begins to
    question how things are being done by her father, and what other
    lies he might be keeping from her. Lilith makes the mistake of
    confiding in Kira about the book. That single act sets in motion
    the rest of the story, as the city descends into chaos when the
    discovery is made public. And while her siblings had plans for
    this eventuality, and indeed saw it coming sooner or later, things
    did not go as planned, and Lilith's life was forever changed.
    Lilith vows to assemble an army and take her city back, but that is
    a daunting task.

    The rest of the novel, then, is spent outside the city, as Lilith
    and librarian (whose name is Ishmael, we come to learn), wander
    from town to town, looking for help and shelter, and trying to
    figure out where to go next. There was much talk of going to New Alexandria--and this is one of the reader's hints that this world
    is not all as it appears to be. As the novel unfolds, Ishmael and
    Lilith discover much, much more about the truth of their land, and
    why they're in the situation they are.

    The novel starts out as a fantasy, with a gift given by the gods
    providing for the people of the land, but as it progresses we learn
    that it really isn't a fantasy. There is no magic, and there is
    rudimentary science, but the big reveal of the novel makes me feel
    like this is a small part of a much bigger story, a story that I'd
    really be interested in reading. A STRANGER IN THE CITADEL can be
    read as YA, and that wouldn't be incorrect, given the protagonist
    and how she and the story progress. But it's clear there's much
    more to tell, and that's the story I want to read. Maybe Buckell
    didn't want or intend to tell that other story, but that story is
    the one that sets the table for this one, which in my mind is a
    story within the story, and I want that larger story.

    That's not to say that the book wasn't enjoyable. It certainly
    was. The characters are terrific, the situation reminds the reader
    of what we are living through today, and family, whether by biology
    or choice, plays a large part. And really, who doesn't love a
    story about forbidden knowledge? [-jak]


    comment by Taras Wolansky)

    In response to various comments in various issues of the MT VOID,
    Taras Wolansky writes:

    Thanks for the many great issues you've sent me since my last LoC

    Review of WIND RIVER: This is a corker of a modern Western by the
    master of the genre, Taylor Sheridan, and touches on a very real
    problem, violence against women on "the res". Of course, in
    reality this problem has much more to do with high levels of
    alcoholism and unemployment, than dramatically convenient outsiders.

    Review of AVATAR--THE WAY OF WATER: Blue makeup? My understanding
    is, the Navi characters are all CGI, by way of motion capture.

    I was amused to see the film follows the old NATIONAL GEOGRAPHIC
    rules: depicting "natives" in a state of undress is regarded in
    the light of anthropology, not erotica. I almost laughed out loud
    when I noticed that only the white (and non-CGI) character's
    loincloth has a discreet flap in the back.

    Perhaps the editors belatedly realized there was a problem,
    especially considering that some of the Navi characters are
    supposed to be barely in their teens. At any rate, it looked to me
    as if certain panning shots were abruptly cut off, before they got,
    er, too "blue"!

    Review of OPPENHEIMER: You may want to take a look at Robert
    Zubrin's review in QUILLETTE. Zubrin was a member of a later
    "class" at Los Alamos. He gives the film high marks, but
    criticizes it for its nasty depiction of Lewis Strauss. He says
    Strauss was one of the few people in the FDR Administration
    concerned about the Holocaust, and Strauss held out for a
    demonstration drop of the first bomb, even as Oppenheimer was
    helping the military pick a city to obliterate.

    I found the ending rather anticlimactic. The building of the first
    atomic bomb is inherently a far more important story than Robert
    Oppenheimer losing his security clearance years later. Which,
    after all, still left 99.9% of the field of physics open to him.
    One could argue that, after lying to counterespionage investigators
    in the middle of a world war, he was lucky he wasn't prosecuted.

    On at least two occasions in the film, Oppenheimer expresses his
    confidence that, if we don't build a hydrogen bomb, neither will
    Stalin; a view which seems laughable, in retrospect. Even after
    everything, Oppenheimer apparently still believed Stalin was some
    kind of benevolent humanitarian, too peace-loving to build an
    H-bomb unless the U.S. forced him to.

    In any case, OPPENHEIMER should sweep the Oscars next year--the
    last year before the Academy's new diversity rules take effect.


    TOPIC: This Week's Reading (book comments by Evelyn C. Leeper)

    [With yesterday being the anniversary of Jorge Luis Borges's birth,
    I thought this would be a good time to run my complete comments on
    UNTHINKING THINKING. I am including the text I wrote about it in
    the 04/28/23 issue so as to have a full review here.]

    PHYSICS by Floyd Merrell (Purdue, ISBN 0-911198-72-5) is at first
    intimidating by the very academic writing. Here's an example:

    "Consider the possibility that in 'The Circular Ruins' a projection
    of spatio-temporal synchronicity into linear existence entails a
    symbolic abolition of the life/death dichotomy. This assumes an
    implicit attempt to overcome temporal existence wherein spatial
    hierarchy and temporal linearity predominate."

    However, as I read on, I started to see errors, or at least slips.
    For example, on page 4 Merrell says, "'The sun rotates around the
    earth' and 'the earth rotates around the sun' represent two
    conflicting perspectives." Actually that's not true; the Earth and
    the moon revolve about a point that is three-quarters of the
    Earth's radius from the Earth's center. And the pairs Pluto-Charon
    and Sun-Jupiter each revolved around points that are not within
    either of the bodies involved. And so it is possible to consider
    both true, or both false, rather than one absolutely true and one
    absolutely false.

    But even more of a flub is that Merrell speaks of bodies "rotating"
    around each other, when he means "revolving" around each other.
    Rotation is the motion of a single body about a point or an axis.

    Later, he writes about Leibniz's "binary system based on the root
    2"; he means Leibniz's binary system based on the base 2 (which is
    actually a bit redundant).

    Another, deeper dispute I have with Merrell is that he defends the
    argument that mathematics is invented. not discovered, by saying,
    "In sum, from this perspective mathematics is invention rather than
    discovery, a human institution rather than an eternal playground
    for the gods. Right and wrong mathematical behavior lies in the
    game, for mathematics is normative. Consequently, number systems
    need not be decimal, as is our Western system. To cite only two
    examples rom among many, the ancient Mayas used a system to the
    base five, for reasons unknown. And within a fictive context, the
    inhabitants of the planet Tlon used a duodecimal system...."
    Merrell seems to confuse the way we express mathematics with the
    mathematics itself. He could as easily claim that the different
    shapes of the ten digits used in Egypt makes their mathematics
    different from ours.

    "We are to suppose not only that each page of the book after page
    one is followed by an immediately preceding page, but also (and
    this is not unimportant) that each page is separated from others by
    a finite number of pages." This makes no sense, given the rest of
    the description, even in a chapter about paradoxes, unless what he
    meant to say was "an immediately succeeding page."

    Merrell asks, "How can consciousness be one an at the same time
    many?" The obvious answer is the same way God can be one and at
    the same time three. (I will mention my engineering analogy to the three-in-one paradox: an engineering drawing of a toothpaste tube
    from the standard three perspectives would show a circle, a
    rectangle, and a triangle respectively--yet it is a single item.)

    "Funes is capable of seeing only particulars. ... The problem was
    that his memory became a garbage heap. It contained an infinite
    number of individuals, but he was incapable of "ideas of a general,
    Platonic sort. ... Although our imaginary Funes escaped the human
    penchant for hypothetical abstractions, we obviously cannot."
    Except that is apparently what some people with autism do, at least
    according to Temple Grandin, and she should know.

    "In fact, science fiction writers are now borrowing ideas from
    physicists, rather than, as has been conceived in the past, science
    'catching up' with H. G. Wells, Jules Verne, and others."

    Merrell is apparently unaware that science fiction has been
    borrowing ideas from physicists since the very beginning. There
    are really two sorts of science fiction in this context:
    technological fiction and theoretical fiction. The former is full
    of submarines, short-range spaceships, invisibility sera, and so
    on. The latter is full of wormholes, faster-than-light travel
    (through some new discovery), use of the wave/particle
    complementarity, and so on. My first guess as to why the
    transition from technology to theory is that the 19th century was a technological century--the Industrial Revolution and all--while the
    big changes in theoretical physics did not start until late in the
    19th century and into the 20th century. So Wells and Verne were
    based on technology, and Hugo Gernsback kept pushing science
    fiction as based on at least seemingly practical science. After
    the atom bomb, everyone--writers included--started noticing
    theoretical physics, at least to the level of E=mc^2.

    "La indagacion es facil: basta multiplicar 1x2x3x4x5x6x7x8x9x10,
    prolija operacion que nos da la cifra de 3.628.800."

    I would give as a fairly literal translation: "The determination is
    easy: it is enough to multiply 1x2x3x4x5x6x7x8x9x10, a long
    operation that gives us the number of 3,628,800." (Note that in
    Spanish numbers, the use of the period and the comma are reversed.)

    Merrell writes, "The investigation is easy: it is sufficient to
    multiply 1x2x3x4x5x6x7x8x9x10, a tedious operation that gives us
    the sum of 3,628,800."

    Whether it is tedious or not is a matter of opinion; however, the
    result is not a *sum*, it's a product, and "cifra" is "number".
    Given that everywhere else the name is correct, I will assume that
    referring to "H. G. Well's 'The Crystal Egg'" is just bad

    "The fact that particles display wave properties gave evidence that
    they represented some kind of statistical effect, a discovery which
    soon led to the unending of causality and predictability. No more
    could be known but that a given electron had a certain probability
    of being at a certain place at a certain instant." Unless I
    completely misunderstand what Merrell is trying to say, he means
    "ending of causality and predictability", not "unending".

    Merrell explains why the 50-50 chance of nuclear decay is not
    really similar to a coin flip. I understand that he is saying that
    with enough data on force, position, temperature, etc., we could
    predict the coin flip (though I'm not sure chaos theory would

    But I totally disagree with his statement, "... the coin, while
    flip-flopping, entails two alternative worlds, but in the quantum
    realm the two worlds are no more than a potential. We cannot speak
    of the existence of either until one of the two has been
    actualized, i.e., until it has been, so to speak, 'observed,'
    interacted on by another entity.'" For the life of me, I cannot
    see how the two alternate worlds of the coin are any more real than
    those of the nucleus.

    And while we're at it, the whole Schroedinger's cat thought
    experiment has problems. For example, isn't the cat intelligent
    enough to observe whether it is alive or dead, so the wave form
    collapses immediately? There is no "waiting period" before the
    external human observer opens the box. For that matter, what
    changes if the human observer is in the box? Unlikely, but we can
    postulate a quantum "trial by ordeal" situation, where chance/God
    decides whether the accused is guilty and should be executed, or
    innocent and should not be. (Sounds like a great SF idea!) [-ecl]


    Mark Leeper

    There is something fascinating about science. One gets
    such wholesale returns of conjecture out of such a
    trifling investment of fact.
    --Mark Twain

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