SF/F, sociology, some recipes. Updates every other Friday.

Category: classics (Page 1 of 3)

“Doutor Compaixão,” by R. Jean Mathieu

This story, “Doutor Compaixão,” came from a challenge from the inestimable Cat Rambo, namely, take the prompt “A Brazilian math teacher proposes marriage to compassion” and make a story of it.


They called him “the beggar who counts.”

They called him a saint.

They called him “Doutor Compaixão.”

But when the pacification police came in heavy gear with shields and guns, they didn’t call him anything. They said they had never seen the man Pedro Sores Canto.

Word had come from Rebeca Itoh Silviera, down in the city at the university, that a raid was coming to the old favela she had escaped. A man inside the police came to visit his parents and give them the remittance and the bribes he won as a policeman the day before, saying that the raid was seeking out the old math teacher who gave lessons and refused reals for it. No, he did not know for what crime. He was a policeman, how was he to know what crime a man was to be arrested for?

Word reached Pedro Sores Canto as he held a chalkboard to his knee, cracked chalk showing the curve of a bell that held the secrets of all the universe, probably. Word came the same way all his payment came, as a butchered chicken or a jug of beer or a whispered word of forgiveness. The children scattered like crows from the stern faces of their mothers, anxious that the man who had freed Rebeca Itoh Silviera should do the same for their children. If the pacification police took him away, who would teach the children to make numbers dance and speak Portuguesa as the rich in the city do?

“Do not worry for me, Senhora de Assis, Senhora Ventura, Senhora Quintana.” He smiled. “Have compassion for yourselves and your children. Keep a close eye on them tomorrow, and remind them to count.”

As he carried home the butchered chicken and the jug of beer and the terrible news, he thought of Alcione. He had come to Cantagalo, first climbed the steep hills between tar-paper and tin, five years before, latest in a string of hidden places that had been his life since her words to him. He wondered what had become of her. Either dead or married, he decided, a cloud of children underfoot like flies in sweltering winter.

Either way, she had long since departed from him. All that was left of her to him were those words:

“You have no compassion.”

Passion he had had. Passion enough that, in the irrational way of very rational men, he had killed her lover. Passion enough to conceal his love until it burst from him, passion enough to confess it to her after the deed was done.

Compassion was something else again, a limit to converge on and never reach. It was not the passion one could have for a woman, for the woman, for Alcione, but a love for her and everyone and everything. It was as particular as the names of Senhora  de Assis and Senhora Ventura and Senhora Quintana and Vitor Ferraz de Avis and Rebeca Itoh Silviera and Alexandre Cubano Sozinho. It was as grand as Sugarloaf Mountain and deep as the Pacific. It was an idea that he, Dr. Pedro Sores Canto, once the brightest young turk in Brazilian mathematics, could not grasp.

As he had lay in shallow ditches outside São Paulo at night, or slapped mosquitos from his skin and calculated his grim odds of survival on elaborate bell curves in the Amazon jungle, or lay awake watching reflected fires in the tin roof of some favela or another, the bitter sting of Alcione’s other words had left, along with her face, and her voice, and so, insensibly, his obsession had moved from her to the idea, compassion, the idea that was to him a nebulous air and an equation to solve and to her an immediate reality to experience.

It was his attempt to solve the equation and to make the nebulous idea concrete and real that had kept him to the favelas. He had learnt the Buddhist mantras and the Catholic prayers and the strange notions of the poor and criminal Evangelicals he had found himself hiding among. Santa Teresa de Kalkota had stayed with the poor for compassion, so, too, would he. He could have hidden from the authorities a dozen other ways, perhaps even returned to academia. But it was safer in the favelas, and it was in the favelas he would finally solve compassion.

His trail had started in São Paulo a murderer, and ended here, at the top of Cantalgo Hill, in the garret of a brick building that smelled always of frying onions and the human drift, a saint. Doutor Compaixão.

Senhora de Assis had said the raid would come tomorrow. Senhora Ventura tonight. Indeterminate. Very well, he could study his chances. 50% chance they would come tonight, 50% tomorrow. He need only play the probabilities, what his students and their fathers called gambling.

“Senhora Preto, I must leave tonight,” he told the elderly landlady smoking her hand-rolled at the living room table. “Please tell any visitors I have already gone.”

Senhora Preto nodded, exhaling a little puff. He was not the first tenant to leave suddenly as rumors of another raid swirled around the streets and markets and living room tables. She approved of his good manners in announcing it beforehand, though. It spoke to good breeding.

He climbed the stairs to his garret for the last time. There was not much to pack. Only a few shirts, another pair of pants, the hundred-year-old calculus textbook that Jorge Figueiredo Boaventura’s father had given him many years before, before Jorge had broken his leg and died. Poor child, almost a man, and then…

Pedro Sores Canto sighed. Jorge had died three years before, and all Pedro could rouse in his heart was regret that such a promising mind had been snuffed out like a candle. He muttered prayers for him, but there was no heart in it.

Still, it was nearly fifteen years since Arthur Castilho Nakata had died under his hand and Alcione had left his life forever. Still his death-rattle and her compassion animated him. And he had remembered Jorge’s name, and said prayers for him. He converged on compassion…

The startled cry of Senhora Preto jarred him from his meditations. The pacification police moved fast these days, lightning war, not like the old days. That they would arrive so soon was more than three standard deviations from the mean, less than 0.16% likely. He did not have to look out the tiny window to know that the house was surrounded, that there was no more running for him unless he sprout wings and fly. He would be taken, and tried, and, in the end, executed. Perhaps Alcione would appear, after all these years, to testify against him.

A second cry, from Senhora Preto, stabbing through the shouts and buffets and bullets of the pacification police. It was a cry of pain. Pedro Sores Canto felt something rise in him, a stone in his throat and a balloon in his mind. Senhora Preto had done nothing to earn whatever the pacification police had done to elicit that cry from her. No more than Jorge Figueiredo Boaventura had deserved to die.

No more than Arthur Castilho Nakata had deserved to die.

The room seemed bathed in light, though only a cheap flashlight flickered feebly. He saw there the faces and names of all the students he had taught, all the parents he had consoled, saw again Alcione’s face as it had been when it had driven him to madness, Arthur’s face in serene repose and free of suffering. He saw faces that he knew were attached to the boots storming up the stairs, the voices screaming guttural cries. He saw his own face. They were all individual and crystal clear, they were all as one.

Alcione would never have married him. She had been right, he had no compassion. And now? Had he approached the apex, converged on the limit at last? Or was his teaching, his kindness, his genius of little pains and remembered names, only a “good-enough” approximation?

This was the last unknown in the equation, the last x to solve for. There was a way to solve it.

The stone in his throat was desire. He desired that they all be free of suffering, sinners and saints both, and especially all the fallen, glorious, troubled, human souls in between. He wished it with his whole body, so hard it ached, heedless of the tramp of boots and the oncoming cries.

Alcione would never have married him, but…

“Compassion,” he asked, sinking to his knees on the bare floor, “will you marry me?”

Something inside him said yes, and he felt himself lift as if on wings.

When the pacification police kicked the thin plywood castoff excuse for a door open, they found only an empty room. In confusion, they dripped into the tiny room. Behind his helmet, Vitor Ferraz de Avis muttered a prayer of thanks to Santa Maria, who in her compassion had liberated old Doutor Compaixão.


Think this story was good? Bad? Just plain weird? Let me know in the comments!

Three Tools of Writing: Writing Staccato

This is the guy that wrote all those luscious descriptions of Doc Savage’s physique.

“No yarn of mine written to the formula has yet failed to sell.”

That’s the promise Lester Dent makes, second sentence of his Pulp Paper Master Fiction Plot.

Dent’s little essay packs a surprisingly limber, versatile formula for storytelling – a bit like a slim Swiss Army knife. It doesn’t apply to everything (you can’t very well write a “two people sit at a table and talk” type of sci-fi story with it – at least, I can’t) but what it does apply to, it does the job very well, and you have a great deal of fun writing it.

If writing free is the path of inspiration and surprise, the Master Pulp Formula – writing staccato – is the path of fun.

Example Story: Doña Ana Lucía Serrano y la Caja de Venuswood (Lady Ana Lucía Serrano and the Venuswood Box)

On the face of it, it just sounds like some other guy’s Save the Cat model. Start in media res. Introduce all the characters. Show, don’t tell. In a 6,000-word story, you have to hit an action scene and a plot twist at every 1,500 words.

But, there in the descriptions of the “different things” that would be “swell” to have the villain doing for this story, there’s

“IS THERE A MENACE WHICH IS TO HANG LIKE A CLOUD OVER THE HERO?”

Lester dent

I defy you not to hear that in Howard Cassell’s voice. Walter Winchell’s at a stretch.

I got to admit, that’s what first hooked me. The lingo. The jive. That breezy thirties style.

But, underneath that, there’s a powerful engine of storytelling in here, or, rather, of yarning. Because this is a method of building the kind of story where characters act, things happen, and by the end, something large or small has changed in the world. Stories of any length, depth, or complexity. Stories like solarpulp.

To begin with, it is not limited to 6,000 words. Indeed, I’ve only rarely managed it in 6,000 words, most of the stories I write in this métier average 14,000 words. It’s the proportions that matter:

  • A quarter of the way in, the hero has an action-packed confrontation (suitably scaled up or down to the size of the story at hand) and a twist and setback that keeps them from finishing it then and there.
  • The hero gets more grief, mainly not their own fault, and gets into another conflict halfway through. And it should be a different kind – if Doña Ana Lucía drew her sword and dueled at the first quarter, let her give chase or get pinned to a firefight now.
  • In the third quarter, the menace grows thicker and darker, and a mirror of the first quarter twist leaves the hero with almost no hope of success. The action may retreat for most of the last quarter, but the menace and tension mount until the hero is “almost buried in his troubles,” then, and here Dent emphasizes, “the hero extricates himself with HIS OWN SKILL, training or brawn.”
  • After the climax, the hero clears up any mysteries and we close on a final line, “the snapper” that leaves the reader with the intended takeaway feeling.

These outlines or master formulas are only something to make you certain of inserting some physical conflict, and some genuine plot twists, with a little suspense and menace thrown in.  Without them, there is no pulp story.

Lester dent

This structure applies to novelettes, too. It applies to movies – let me take Raiders of the Lost Ark:

“First line, or as near thereto, introduce the hero and swat him with a fistful of trouble.”

Indy is betrayed before we even see his face, and then repeatedly by his remaining colleagues, infiltrating the temple of the Hovitos. Then, of course, Belloq shows up and chases him out. All this in the first ten minutes.

“Hero’s endeavours land him in actual physical conflict near the end of the first [quarter]…there is a complete surprise twist development.”

The destruction of the Raven Bar (and Marion’s triumphant, angry “I’m your goddamned partner!”) comes at almost precisely the one-quarter mark of Raiders. And with Sallah and “the boss German, Dietrich” introduced less than a minute later, all the players are on stage.

“Another physical conflict […] a surprising plot twist to end the [second quarter] […] Does the second part have SUSPENSE? […] Is the second part logical?”

Sallah captured, Indy and Marion trapped in the Well of Souls by Belloq and his Nazi friends, who now have the Ark. This kicks off one of the greatest chains of action scenes in all of American cinema, the escape from the Well of Souls,  the Airplane Fight, and the Truck Chase. Although the action-packing is heavy (and lesser creators than Lucas, Ford, and Spielberg at the height of their powers would have made it drag), the timing is still there – the twist that they’ve been discovered comes just before the halfway mark, the snakes just after.

“A physical conflict […] a surprising plot twist, in which the hero preferably gets it in the neck bad […] The hero finds himself in a hell of a fix.”

After the extended action sequence ending with the Ark, Indy, and Marion aboard the Bantu Wind, the conflict at the end of the third quarter is understated – it’s a suspense scene, rather than an action scene. Dietrich and his men storm the ship, take the Ark, re-capture Marion, and Indy is barely hanging on by a strap to a Nazi sub. He has to hide, skulk, and disguise himself, and meanwhile we find out they’re not going to Berlin – why not? What is Belloq planning?

“Get the hero almost buried in his troubles […] The hero extricates himself by HIS OWN SKILL.”

Indy challenged Belloq, holding the Ark ransom for Marion, but he relents, and is captured to witness Belloq’s moment of triumph. Does Indy wriggle out of the ropes and take on an entire division of armed Nazis? Well. No. He escapes the fate of those who look into the Ark by his own skill – heeding all the warnings he’s got since the pointer scene that the Ark is not for human eyes or hands and shutting his own eyes and, critically, passing this on to Marion, too. He didn’t get out of the ropes with his own skill, but he got out from the wrath of God that way, and that’s a damn sight bigger.

“The snapper, the punch line to end it.”

I don’t really have to say it, do I? The government warehouse. The Ark was lost, then found, and now, symmetrically, is lost again. Cue John Williams.And it applies to novels.

Take Dune, for example.

The first quarter conflict is Yueh’s betrayal, the fall of House Atreides, with the twist being that the Fremen are far more than anyone (even the Duke) anticipated. In the middle, we have the knife-fight with Jamis, and the revelations of the source of the spice and the Waters of Life. The third quarter, the action is Paul riding the worm and the twist that now is the time for his strike against the Emperor and the Harkonnens. The final confrontation is the knife-fight with Feyd-Rautha, the twist being that Paul has given himself to the coming Jihad. The final line is a bit weak, but the rest of the book’s strengths more than make up for it.

But in a novel, you need something more.

This wasn’t the case for Dent. Each Doc Savage novel ended with Doc much the same as he was before – the globe-trotting do-gooder, Trouble Buster, Inc., the Man of Bronze. He is unchanged for all his adventures, a bronze statue, and even when Monk quits smoking, or Ham acquires a pet monkey, or Doc acquires a cousin, it doesn’t change them. They learn nothing, for they already know all.

That doesn’t satisfy. Not anymore.

The folks over at Rampant Games, in their exhaustive How to Write Pulp for Fun and Profit, explore the pulp character arc. Building on Dent’s model, they introduce the standard pulp hero character development – the hero initially starts out seeking a false goal, start incorporating a better/truer goal, plan to go back, and ultimately commit to the truer goal in the end. This opens up possibilities. Consider Temple of Doom: Indy lights out after the Shankara Stone (for fortune and glory), discovers what’s happened to the missing children, frees them (while still collecting the Shankara stones), and uses two of them to defeat the villain who enslaved the children and returns the last to its home village – giving up the fortune and glory that would have come with it.

Now back to Dune. Paul seeks vengeance for his father’s death and his rightful place as ruler of Arrakis. He glimpses a vision of the jihad to come and the Golden Path, and works to avoid it while continuing to pursue his vengeance. But, here, Paul fails the character arc – when his son is killed, he pursues his vengeance to the hilt, rejecting the “truer goal” of avoiding all the havoc, chaos, and bloodshed it entails.

Indy’s is a triumphant pulp arc. Paul’s is a tragic one.

In any story of action, you can have the protagonist choose to embrace or forsake the higher calling that comes along in the course of pursuing their base goal. The idol, or the friends we made along the way? And many a villain putting a hero in that perilous position had a journey like that once of their own, one that, like Paul, they failed. Every sinner has a future and every saint a past, isn’t that so?

Finally, it’s not limited to just action. Romances often work to the same tempo as Dent’s most testosterone-poisoned pulps. Consider Pride and Prejudice

Those of us who are into boys can contemplate Mr. Darcy aaaaaaall daaaaay…

…the second ball (where Elizabeth verbally fences with Darcy before he lights off for London with Bingley) and the sudden departure leaving Jane in the lurch are the end of the first quarter, Darcy’s first proposal (and the contents of his letter) and Elizabeth’s rejection are the confrontation at the end of the second, Lydia’s surprise marriage to Wickham caps off the third, and Elizabeth’s confrontation with Lady Catherine and reconciliation with Darcy round the book out. The action, here, is relational – conflicts between people and between people and their own hearts, where the “surprise per page” is in the repartee and the conflict is handled with words (or subtle gestures) and not fists.

I leave it as an exercise to the reader to consider how to apply action, twists, and climaxes to erotica.

Next time, we’ll wind it up with the last of my three tools: Orson Scott Card and his magnificent mice.

Three Tools of Writing: Writing Free

The two most influential non-fiction books on my writing career are Ray Bradbury’s Zen in the Art of Writing and Natalie Goldberg’s Writing Down the Bones. I got introduced to both in those halcyon days of my homeschooling, when I launched my first magazine and sent in my first story and won 3rd place in the Ray Bradbury contest from seven states away. And, from that first magic hour between eleven and two in the morning, powered by Pepsis, cheese sarnies, and the Blade Runner soundtrack, they’ve always gone hand-in-hand in my mind.

Both books are collections of short essays, approaching writing from different angles in each, but often singing the same hymns in new variations. Both sing of the passion of writing, of the great giddy joy of watching the words unfold onto the page. “I wind them up and watch them go!” exclaims Bradbury in his perpetually ten-year-old voice. “Set your fingers on the keys, lay your head back, and just let it flow” says Natalie Goldberg in the weary voice of a Midwestern Zen master, before enthusing about how the computer will wrap around your words so you don’t have to reset the typewriter. Both are delighted to be startled, awed by sudden insight, adherents of a mystical (dare I say Zen) approach that comes at storytelling as the prophet comes to the Divine, and like the prophet must describe the indescribable, and put into words what transcends all words.

Example stories: Hull Down, The Short, Strange Life of Comrade Lin

Bradbury comes around again and again to his lists of words – free-association and psychological outpourings of nouns and phrases. I’ve come to calling them “Bradbury lists.” Here’s one I free-associated recently:

The glass miles. The glass acres. The electric chimneys. The chimneys of the sun. The snow gardens. The gardens of the north. The inheritance. The trust. The shrinking inheritance. The trust under glass. The oncoming storm. The glass inheritance. The wildfire. Fire on the snow. Hot, Wet Canadian Summer. The slush. The broken ice. Plants or power? Guns or butter? The chimney and the arpent. The plants and the plant.

But what to do with them?

Peer at them.

Bradbury looked deep into “The Ravine,” and saw there a memory, the tickle up his back as a young boy raced home in the darkness in Waukegan, Illinois in 1928. I let my own mind flitter over “the Diction-fairy” and wondered what such a creature could be. Other times, amidst “the corals” and “the fishery,” saw “the city sunk, the city risen,” and asked, what city had it been? How had it sunk amidst the corals (as clearly it had, based on where in the paragraph it was)? And how did it rise again?

Then, something …catches. I have no other word for it. Like the dust in a nebula converging, like a child quickening in the womb, like a spark in the kindling, something catches and lives. The idea takes on life and begins to spark all on its own. I look at “the Diction-fairy” and I can hear Mom describing her to the narrator, feel the rush of childlike hope in his heart, and then it’s off to the races. And a race it is, you have to be fast to catch an idea that’s taken off in your head, get down the bones of it, sketch out the size of it, even just gently touch on the magnificent thing you have just witnessed inside your own skull.

And that’s where Natalie Goldberg comes in.

As Ray returns to his lists, Natalie returns to her pages, the freewritten stuff every morning and whenever she needs it after. You can see it in the rhythms of her (never more than a few pages) essays, the sway of her hand when she wrote them longhand into those silly 99c Tweety Bird ringed notebooks. She doesn’t stop to correct her spelling or her grammar or her diction – indeed, it’s a sign that something has broken through, something come alive, if the rush of word-idea-flow-motion is too quick to be caught by mere English. Shocking phrases jump out, stark truths that are somehow comforting for being true and naked, insights into her life or her writing.

The poet’s credo is to “write drunk, revise sober.”

This is the drunkenness.

“Writers don’t drink because they’re writers. Writers drink because they’re writers who aren’t writing.” – Natalie Goldberg

I call it “writing free.” From sitting in stillness, like a good Quaker, allowing nouns to rise, recording them on a page or a document (anything, as long as it’s blank. It’s important that it was blank) to the contemplation of one or another as they call out to me – here a memory, there a nameless sensation, there the echo of a voice I almost heard once – and watch them play off each other, catch fire, burst into sun, quicken into life, and take off! And I’m racing off after them, across Natalie’s ever-forgiving blank pages, the new living thing turning phrases and turning ideas and turning up laughter until I arrive at the end of the story…

…when a soldier’s life meant something, when it never did the first time…

…when the Song of Seikilos sings out forever from the sun…

…when the Diction-fairy turned out to be real

…when Eli Shipley abandons Tchang to his fate…

…when the dead Dyson sphere begins to knit, slowly, imperceptibly, back together…

And I am shocked. Sometimes I laugh. Sometimes I cry. But never did I expect how that one would turn out!

And the beauty of it is, neither did anyone else.

Back in 2022, coming out of a long, dry stretch, I wrote of “angels from the Id.” When writing free works purest, finest, that is what it is. It is something that really does touch transcendence, allows me to write something greater than myself, greater than the reader. And a handful of times, it comes out perfect on the first try.

But when it doesn’t, I go and make love to my wife, read Les Misérables to my daughter, do karate, read the latest Asimov’s. And the next day, sober, I sit down to edit. There is nothing sacred about words. They can be cleaned up, moved around, refitted, if it makes the story better.

It’s just that, sometimes, when you write free…the story is sacred, and it infuses the words with a power you never held alone.

It’s almost Zen.

Three Tools of Writing: Introduction

Ringo Starr, personal hero, 1964. Seen here with Paul's grandfather. He's a very clean old man, inn'e?

REPORTER: “Are you a mod or a rocker?”

RINGO: “Er, no, I’m a mocker.”

Are you a plotter or a pantser?

A shower or a teller?

First-person or third-?

Are you a Shaker, a Quaker, a candlestick-maker?

The whole damn writing community defines ourselves by our strictures. You write fantasy, I write science fiction. She’s literary, he’s genre. Are you profic, antiship, a twit, a bookstagrammer?

Let’s us draw lines in the sand and pick a side, it’ll be great sport!

Except…

I write science fiction, fantasy, horror, and under other names, romance, Westerns, erotica, mysteries, thrillers, and men’s pulp. I take great pride in it. Each genre strengthens the others.

QUERY: Are you a plotter or a pantser?

ROSCOE: I’m all three.

Welcome to R. Jean Mathieu’s Three Tools of Writing.

Over the next few weeks, I’d like to walk you through some of the ways I write stories. I say “some of the ways,” because no two stories are the same, and because the tools are always the same. I don’t scream on Twitter how all you need to fix a bed is a hammer, or how all cabinets should be built with screws only. (I scream about other things on Twitter, thank you very much.) Instead, I look at the job, pick the tool I think is right for the job, and try it. If it doesn’t work, I’ll try a different tool – and a different way of approaching the story.

I have three tools that I come back to again and again, well-worn and fitted, after twenty-five years of constant use, to my hand. They are:

  1. Bradbury’s lists (and Goldberg’s free hand)
  2. Dent’s Master Pulp Formula
  3. Card’s MICE Quotient

I’ll be going into each in detail over the following weeks, but here’s the short version.

Ray Bradbury’s free-association lists, in my mind, are bound forever to Natalie Goldberg’s free-writing notebooks. Ray conjured out of the air lists of nouns, nouns that became memories, or notions, and which burst forth into characters or conceits and finally into stories. Many of his classics still bear the stamps of their birth – “The Veldt,” “The Pedestrian,” “The Long Rain.” And Natalie Goldberg, a poet of my mother’s generation, believed in the truth of freewriting, of allowing the words to race across the page without censure from our conscious minds. Hell, I’m doing it right now. Both believed in the bones of stories, letting these hard, firm truths thrust upward and outward to startle and inspire us. And, taken together, they have written me stories that made me weep.

Lester Dent’s Master Pulp Formula is just that – a formula for writing a pulp yarn of six thousand words, applicable at sixteen thousand or sixty thousand, believe you me. It’s a formula for keeping everything in proportion – so your story doesn’t start dragging in the second quarter, or rushes unsatisfactory toward a crashing climax. And, with a sufficiently loose definition of ‘action,’ you can apply it to startling results to romance, erotica, or Westerns, too.

(And remember, per the Snowflake Method, it’s not really an interesting story until the third perspective enters the page.)

Orson Scott Card is a terrible human being – but, confoundingly, also a very good writer. He’s not the only one, not even the only one on your bookshelf. And, before I knew what a terrible human being he was, I read his book, and his method of writing – the MICE Quotient – is too good a way to write for me to thrust away. What, then, is your story? How do you frame it? Is it coming to a place? Or is it asking a question? Or fixing a rent in the world? Or struggling against your place in the world? The power here is that any one idea – a person, a place, a mere notion – can become different stories depending on which avenue you pursue, how you choose to frame it.

Here they are, three tools, three totally contradictory ideas about writing, about art, about storytelling. And I use them all.

Because each could be the right tool for the given job.

Join me, over the next four weeks, as I show you how to use my three tools for your writing job.

Love, Death, and Mirrors, or, What Makes a Good Twilight Zone

Love, Death, and Robots
Black Mirror
...and the sort of man you picture introducing...the Twilight Zone.

Melissa and I recently got way into Love, Death, and Robots, which is at turns terrifying, heartening, enlightening, and blood-pounding. Every new episode is a collection of roulette rounds. Will this be a funny episode starring the three robots? Stylized CGI about sirens? A neo-noir Strange Story from an Artist’s Studio? Who knows?

That’s half the fun.

Meanwhile, I’ve seen Black Mirror. At least some of it. They all get a bit repetitive after awhile. They’re always trying to be as slick as Mad Men, as deep as Breaking Bad, and always gunning for that highest of awards in science fiction – fans who use words like “prescient” and “spookily accurate” in describing the show, as if they were John Brunner back from the dead.

In my business, you need to be at least familiar with Black Mirror and its most famous episodes (like “San Junipero” and “White Christmas”). Much like Rick and Morty, they’re sometimes-interesting takes on very familiar themes (Philip K. Dick moves, robots/AI making humanity obsolete, social currency). They’re even, I’m told, Great Television.

Great Black Mirror may be, but I don’t think it’s that good. Not as good as Love, Death, and Robots anyway.

But let’s talk about their shared grandfather: Rod Serling’s The Twilight Zone.

The Twilight Zone, for those who grew up after Syfy stopped doing the New Year’s Day marathons, is an incredibly influential science fiction anthology show. Hosted by its executive producer, Rod Serling, with his patented deadpan delivery and nice dark suits, The Twilight Zone featured “One Weird Idea” style science fictions, character studies, fantasy stories, and adaptations of Golden Age sci-fi literature.

It’s one of those shows that, even if you’ve never seen it, you’ve seen it. The Simpsons regularly drew from The Twilight Zone, especially in its heyday, teaching a new generation “to serve Man,” that “there was time now!,” reminding us that the monsters are due on Maple Street, and teaching us to fear small children with psychic powers in ways Stephen King could never manage. Almost everyone knows the twists at the end of each of those episodes, and the associated iconic images: that opening, Anthony Fremont using his power, the breaking of a man’s glasses in the apocalypse, a horrible creature on the wing of a plane and an anxious man inside watching him.

This is what Black Mirror wants to be, and why it fails.

Because The Twilight Zone, like Love, Death, and Robots, has room to breathe. The Twilight Zone’s five seasons are studded with exactly the kind of chilling, prescient, haunting tales that Black Mirror aspires to, but there are also episodes about masks that make you ugly underneath, magical mirrors, and at least three about returning to childhood. There are retellings of the phantom hitchhiker, the man who visits a grave and dies, Sunset Boulevard, and “An Occurance at Owl Creek Bridge.” I lost track of how many deals with the devil there are (one of which inspired The Good Place). There’s one episode that’s a hilarious over-the-top anti-gambling PSA, for God’s sake!

All this stuff is beneath Black Mirror’s dignity – some of those plots they wouldn’t touch with a ten foot pole. Part of that is British brevity – with only three hour-to-90 minute episodes per season, and maybe a special here and there, they can’t afford to waste an entire episode on a conceit like “a man sees his confident, debonair self in a hotel room mirror.” And most of the joke episodes wouldn’t stand the strain – some episodes struggled to keep the momentum going for thirty minutes, and the hour-long format of Season 4 all but destroyed The Twilight Zone for good.

But some of it is the approach. By aiming exclusively for The Twilight Zone’s top tier of memorable episodes, Black Mirror misses what made Twilight Zone great. Not every episode can be “The Monsters are Due on Maple Street,” and they shouldn’t be.  I can’t imagine Black Mirror doing “Nightmare of 30,000 Feet,” “The Howling Man,” or even “Time Enough at Last.” They’d consider it “not serious enough.”

You know who I can imagine doing it?

Love, Death, and Robots.

The first three episodes, in this order, are: a gritty rape-and-revenge with Pacific Rim creatures, three robot tourists exploring the high school after humanity, and a mind-trip time-loop of two people constantly killing each other in the Kowloon Walled City. Some of our favorites include “When the Yogurt Took Over” (apparently Maurice LaMarche can do an Orson Welles impression? Who knew?), “Zima Blue” (the aforementioned meditation on the color blue), and “Ice Age” (neatly refuting the Twilight Zone episode it was clearly based on). Those are all in the first season – three radically different themes, animation styles, tones, and approaches. But they all feel like they’re part of Love, Death, and Robots, just like how “Nightmare at 30,000 Feet,” “Nick of Time,” and “A Nice Place to Visit” all feel like the Twilight Zone…as opposed to other shows from that era, like Lost in Space, Tales of Tomorrow, or The Outer Limits (which came closest but, like Black Mirror, suffers from its own demand for ironic cruelty…or just cruelty.).

Is the next episode gonna be three robots just kind of tooling around in post-human Earth? A hilarious and moving milSF pastiche? Mechs vs monsters with rednecks? Who knows? We’ll find out!

Because anthology shows need that kind of room to breathe. They need the freedom to do shitty episodes – even mediocre ones – and ones that are just straight-up strange (is there a point to “Nick of Time”? No, not really. Fun, though!). The point of an anthology, or an anthology show, is to try things out – and if you can’t sometimes fail, you’re not really trying new things, are you?

Which is why I think in ten years’ time, we’ll look back on Black Mirror as a beautiful and slightly sterile product of its time, like Lost or The Good Wife

…and the next Black Mirror will be trying to compress all the best episodes of Love, Death, and Robots into a three hour season.

“Archives,” R. Jean Mathieu

“How are you today, Mr. Gedde?” The archivist asked. The old man in a box turned toward the sound with liquefied eyes.

“Who’re you?” He asked. The archivist sat down next to the box, in the warm morning sun coming through Mr. Gedde’s hospital window.

“Still Amir Safavi, Mr. Gedde.” He said, thumbing through his paperback. It was going to be a long visit. “Do you remember when I came in yesterday? We talked about birds.”

The old man in a box let out a hoarse laugh.

“I remember I saw a little brown and grey thing, whistling a pretty tune like a nightingale, this morning on my way to the factory.” He said, smiling. A sunlit memory, a break in the clouds that had settled on Gedde without his knowing God knows how many decades ago.

“I know, Mr. Gedde.” The archivist said. “You came home and told your family about it. They wept for joy when you said it, because it meant you had remembered something.”

And they hadn’t come to see him since. Just the archivist, making his rounds, paid to talk the old bodies and worn-out minds out of their stuck memories. The geriatric drug kept them alive, certainly, but the pseudo-Alzheimer’s still took its nasty toll. The old man frowned.

“Did I?” He said. “I don’t remember that.”

“Didn’t think you would.” The archivist said, finding his page. He wondered who was visiting his grandparents.

“A beautiful sound, rustling paper.” The old man said. “I don’t like the datalinks or the holos, some things are eternal, like books…who needs a holo about formal logic, or of Shakespeare or the Holy Bible? I remember telling Rudy he was a damn fool for buying one of those computer-bibles they had for ten dollars at the dollar store…”

“Would you like to talk about the news, Mr. Gedde?” The archivist asked blandly.

“Why bother? It all just repeats anyway, says the same thing, over and over.” Mr. Gedde said, his wrinkles massing into a scowl.

The archivist looked up, hopeful for just a moment. There was a chance, however slight, that a Rerentol patient would reverse, begin to learn anew, beat back the demon degeneration that ate at all of their minds eventually. A renaissant

Mr. Gedde had seen centuries. If all he could see were those old centuries, like a barely-living exhibit, they’d send him off to the museums. But if he could see the present, as well as the past…

“Once, Jan switched it to the news during…one of the elections…and the man was talking about a new deal, a great society, so I took my shoe and I threw it at the screen…”

The archivist sighed, and went back to his reading.

“I wonder if she’s still sitting and staring out the kitchen door…” The old man wondered aloud. One wizened hand idly twitched at a life support cord.

“Your wife is dead, Mr. Gedde.” The archivist said, looking away from the withered body in the box. He folded his book in his lap.

The silence dragged on. It was almost worse than Mr. Gedde’s endless Grampa Stories.

“I think you might be better off that way.”

Still not a word.

“My wife, I think she’s seeing someone else.” Amir said in a burst. He clapped his knees together around his hands, steadfastly staring at the wall. “My brother. He…we live together, and she and I…it hasn’t been fights so much as we’ve been …living apart, in the same house, if you know that one. She’s going one place, I’m going another, and he seems to be where she’s going. There’s so many times they’re on the couch together watching a holo and I’m sitting off on my seiza cushion reading a book…”

He looked down at the paperback in his hands. He couldn’t make out the title any more, and he couldn’t remember.

“Do you love her?” Mr. Gedde asked.

“…Maria?” Amir said absently, lost in thought. “I…I think I did, once. I … don’t know. Any more.”

“You did love her, or else it wouldn’t hurt so much now.” Mr. Gedde said. “Remember that and hold onto it. You did love her. You’re going to have a hard time through this, whatever you do. But remember, more for yourself than for her, that you were once kind to each other, even if you can never be so again. And if you must go, go. Don’t let convenience stop you.”

Uncontrollably, a memory from her room, when they were just kids, and Maria was laughing and he pulled her close and laughed with her. The archivist and the old man met eye to eye, and the archivist saw a spark there.

“Don’t turn out like me and Jan.” Mr. Gedde said.

The archivist felt a cool prickling across his skin.

Renaissant.” He whispered. The old man blinked, his milky eyes covered over and the spark gone.

“We had three children.” He said. “Did I ever tell you about them?”

The archivist just smiled.

“Yes, Mr. Gedde.”

“Joan and Jay, they live in Ohio.” The old man said. “And Patrick’s a go-getter in New York. We lost Simon in the Iraq war, still don’t know what for, don’t matter anymore…”

The archivist sighed. The process would be slow, and uncertain, and he would have to tell Mr. Gedde many things about 2319, and endure many more Grampa Stories…but Mr. Gedde had seen the present. And that was enough for now.

Solidarity Forever: The History of American Labor

Solidarity Forever - Annie Willcox
The History of American Labor

I’m proud to announce the first episode of my new podcast, Solidarity Forever: The History of American Labor, has dropped at Acast and your local podcast app.

Solidarity Forever is, as it says on the tin, the history of American labor – from 1619 to the 21st century. Informed by my reading on labor history and organization, and my own lived union experience, I aim to provide the big picture of American labor history – who the mill girls were, what happened at Homestead, the first Red Scare, what a sit-down strike is – and the tools you need to go out and make some labor history of your own.

This first episode, “The History of the History of American Labor” discusses what labor unions are, what the podcast is about, who I am, and why you should care. It’s fifteen minutes long – go have a listen.

A Friend with Taoist Notions

The taiji, or yin-yang, the internationally recognized Taoist symbol - though the way that can be symbolized is not the real Way, of course

In the online edition of this month’s Friends Journal (the country’s largest Quaker magazine), they’ve published my essay “A Friend with Taoist Notions” as part of their Ecumenical Friends issue!

In it, I discuss how my youthful convincement of Taoist principles and cosmology led me to become a Quaker, and how the Tao fulfills itself through Friends.

If my philosophical natterings are your bag, head on over to Friends Journal and give it a read!

What I Write

“So what do you write?”

All writers hate this question.

I’ve gotten it several times over the past few weeks, each one a smiling opportunity to make a new fan and a new friend. But, just in case I’m not standing in front of you (or on the other side of a Zoom call), I’m putting together this post to explain a little of where I’ve been and where I’m going.

And, who knows, even those of you who’ve been on the journey with me might find this useful!

So this is what I write:

Since my earliest days back in the depths of 1999, my sci-fi and fantasy has always had a philosophical bent, what Amazon.com now calls visionary SF. The first SF story I ever sold was a meditation on karate’s iron body techniques and the power of hope, on Mars. Others have included an exploration of mystical transcendence disguised as hyperspace, an existential jaunt about the meaning of the space program long after the world’s moved on, and a vampire story contrasting Buddhist and Catholic understandings of what a vampire even is. Probably the best exemplar of my visionary SF would be my bestselling “Hull Down,” a milSF first contact that takes a severe left turn halfway through and never looks back.

Hull Down (cover by Melissa Weiss Mathieu)
Cover art Melissa Weiss Mathieu.

Even No Time: The First Hour is visionary…albeit cunningly disguised as a murder mystery.

In 2016, of course, I discovered solarpunk, humans solving human-size problems with human gifts after a solid decade of Singularity or Apocalypse. It was a breath of fresh air, fresh green air, and I’ve been inhaling the stuff ever since. Almost all of my traditional sales since have been solarpunk, from turning the sunken city of Surat to new life to defining one’s own gender on Mars. By far the best example of pure solarpunk in my history, though, is “Glâcehouse,” from the moment Mackenzie beholds the dome that holds winter within it and it takes her breath away.

Glâcehouse, by R. Jean Mathieu. Cover art by Melissa Mathieu.
Cover art Melissa Weiss Mathieu.

But over the last few years, a certain vigor has been creeping into my fiction. I’m not afraid to draw on the tradition of Lester Dent and Doc Savage, of Jack London’s muscular, Progressive prose, of Indiana Jones and the serials that inspired him. These new stories are drawn to larger-than-life dimensions, with characters who stand for their ideals more than Dostoevsky-certified realism and aren’t afraid to take direct action to act on them. These are the stories I’ve dubbed solarpulp. Doña Ana Lucía…

Doña Ana Lucía Serrano leaping into action. Credit to Kim Schmidt, always
Credit to Kim Schmidt, as always.

…springs from this new impulse, in all the novels and stories I’ve written of her to date, but she’s hardly alone. Gooch pulls his gun and uses his fists and some of the heroes of my new Cheminéc cycle, growing out of “Glâcehouse,” are just as red-blooded. But, by far, the best example is “Fire Marengo,” the free story you get when you sign up for my newsletter.

We passed, a shadow inside a shadow, beneath the broad lip of the Sheikh’s isle of Valhalla. Tchang reefed our sail, for we had to maneuver slow in that sliver of darkness. Far above, the sirens sang and men shouted, but us two stories below, our ears were keen on the lapping of the water. The slightest sound different could mean life or death there beneath the Sheikh’s pleasure-grounds. I kept the gaff off our starboard bow, to push Valhalla away from the little Sacramento lest we dash ourselves to pieces on the beautiful, deadly coral.

The sound that broke us was the terrible splash. You’ve all heard it, you’ve the faces for it – the sound of a man hitting the water. Tchang clapped his hand over my mouth to stifle my shout, and in my surprise I let the gaff slide off into the dark waters. Tchang and I looked to each other – the Law of the Sea demands we rescue the poor devil. Even if it might expose us. A rescue within a rescue! But I’d want a good sailor to do the same for me if I hit the drink. Even so…

I craned my neck out to get an eye of the situation. The man was floating there, buoyed by his close-necked shirtsleeves, pale and washed out in the mighty lights.

“Game overboard!”

Game? Man overboard surely.

“Is the game dispatched?”

The man shifted in the water, and here I saw illuminated the red blossom of the hole in the back of his head. It was impossible not to see.

“The game is dispatched! Tally to the Sultan of Valhalla!”

Game…now I got it. He meant hunting game. Not like you or I rustle up the occasional cougar for our supper, but as rich men do. And these weren’t no mountain lions, he was hunting men. He was hunting the entire third watch!

And more of that to come in the future – I’m wrapping up edits on the next No Time novel, No Time for the Killing Floor: The Second Hour, and querying Doña Ana Lucía Serrano …to the Future! to traditional publishers. I’ve a fistful of novelettes featuring her, from heists to heiresses to meditations on sexuality and the Peace Testimony. And, if you’re in a more sedate mood, more visionary solarpunk (with a hint of satire).

Well, there it is – where I’ve been, where I am, and where I am bound, as of 2023. But as Hope Hopkinson says, you can only plot a trajectory from where you are.

Who knows where we’ll be in five years?

I look forward to finding out.

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