Norman Spinrad: The Ego Has, At Last, Landed with a Thud

Norman Spinrad has demonstrated a remarkable senility with his latest column in Asimov’s, claiming that the only reason that a “socialist novel” like The Iron Council was published in the States was because it was Book Three in a trilogy. (Never mind the American coverage from Michael Dirda in the Washington Post or Gerald Jonas in the New York Times that might have had a hand in the novel’s awareness.) Fortunately, The Mumpsimus is there to call him on his whiny, self-serving horseshit.

Galactica Ain’t Entirely the Bee’s Knees

All right. We admit it. Against our better judgment, we’ve been taken in by Battlestar Galactica. We dig the gritty feel. But, most importantly, we welcome a speculative fiction environment that has authoritative female presidents (played by Mary McDonnell, no less!), female fighter pilots who play by their own rules without coming across as token aggro-chicks and, from our inveterate male perspective, two very hot Cylon chicks. How often do we see developed women in these shows that aren’t horrible Katharine Hepburn clones? Not much, we’d say. We also like the executive officer — a raging alcoholic that’s an interesting cross between James Carville and Dick Cheney. The people on board this ship drink, smoke, have sex, and even jerk off (and are even caught with their pants down). In other words, unlike the bland folks in the Star Trek universe spouting off technobabble, they’re actually human. They even make bad command decisions. Plus, there’s interesting little design elements such as the paper with its edges cropped off, a general set motif of cramped physicality favored over glitzy computers, special effects shots that have a jerky documentary feel (a first, I think, on television), and some pretty cool Cylon Centurions (complete with a menacing mechanized gait reminiscent of Phil Tippett’s animation).

Even so, we’re mystified by the following gaping holes:

  • If the Cylons have a finite number of models, many of them reproducing themselves repeatedly over the 5,000 or so humans that are left, why is a Cylon detector even needed? Would it not make better sense to take a head count and track the duplicates?
  • Despite the “real” people portrayed, I’ve yet to see a fat person on board or someone with bad hygiene. Why does everyone on board Galactica seem so eminently fuckable, with their flawless teeth and perfectly coiffed hair? Further, would not the lack of sunshine or the outdoors make one antsy when confined aboard a cramped spacecraft? Wouldn’t the notion of the human race almost completely exterminated lead to widespread trauma, depression, and mental illness (so far unseen)?
  • In a recent episode, Starbuck was stranded on a planet for something like 30 hours. While her oxygen was depleting, hunger apparently was not an issue and her strength remained unwavering, allowing her to escape.
  • I haven’t kept count, but if there are only about ten to fifteen fighters on board Galactica, if two or three get destroyed every week, then some fanboy needs to do the math.

The Waldman Contretemps

We’ll weigh in, dammit, for the following reasons:

1) We were mortified by wrestling in high school, largely because the idea of clutching another scrawny teenager in a full-Nelson struck us as vaguely Roman (near the decline of the empire) and homoerotic at the time, and it also meant having to shower with said opponent. You do the math, whiz kid. Twelve years later, free from the shackles of a needlessly Puritanical upbringing and readily indulging in fellatio jokes before breakfast (even in our thirties), we have very little problems with male anatomy and sexuality in general. The important thing is that we are no longer afraid of penises, whether it be our own or another. Although we infinitely prefer lightly wrestling certain lady friends in intimate situations, moments that we would never dare share on this blog, because we recognize the TMI principle. Thus, we’ve earned the right to “weigh in.” To hell with the philological consequences.

2) Our one and only encounter with Ms. Waldman occurred last year, when we offered our hand and said, “Hey. How’s it going?” in lieu of the genteel fawning at the 2004 Northern California Book Awards. We suggested then that it might have been a mistake to introduce ourselves to Berkeley literary royalty this way. However, in light of recent events, we take our original assessment back, recalling the ashen expression on Ms. Waldman’s face, and her unnerving sense that she was encountering some literary huckster there only to talk with other authors and drink free merlot (partly true) and that this, as written in her frown and her dilated eyes, was in some sense a damning crime against the human race. Frankly, we’ve committed greater misdemeanors, many of which you’ll never hear about and many of which are ably recorded in private. We learned a thing or two about exhibitionism after about five years of blogging, hell even in the first few months of blogging. And back then, we were in our mid-twenties.

Which leads us to this and, more specifically, this, which in turn lead to this and this. Scout’s honor.

Still with me?

Okay.

1. It seems to me that Waldman’s lead sentence is the mark of a clear sensationalist. And if she does indeed suffer from a milder form of bipolar disorder (Self-diagnosed! We should again point out that the diagnosis comes solely from Waldman and not a clinical psychologist. Waldman herself, last I checked, was not a shrink.), then I put forth to the peanut gallery that this is a very good way to get attention, that indeed we may very well have been conned into being titilated by another author’s neuroses (a Salon specialty, or had you all forgotten about last year’s Jane Austen Doe stunt?), perhaps another post-modern game to be played between husband and wife. (Note also that we have two clear links to the dynamic duo’s respective sites in the first two sentences. Whether this was a decision from Waldman or the Salon editors, self-promotion, even in the form of such apologia, has never seen such flagrant horn-tooting, even with that damn near unreadable He Who Shall Remain Unnamed novel-in-progress from last year.)

2. I’ve been in relationships, but I’ve never been married. But it would seem to me from a matrimonial standpoint that one would discuss suicidal feelings and bad juju with one’s spouse before exposing it all online, let alone to one’s kids. Or perhaps the key is to write it all down in a private journal. In fact, it strikes me as an altogether shitty thing to not even bother to call one’s loved one, one’s circle of friends or pretty much anyone who gives a damn about you after penning such confessional hijinks, particularly if you are a published author regularly writing and understanding that your words do indeed have power.

3. All this is not to make light of Ms. Waldman’s mental state, which is apparently quite imperious. We should point out that at least Waldman did the right thing in discovering her own personal limits about what to reveal. Even so, commenting upon this publicly in a major online outlet suggests not only a continuation of the very problem (which has earned considerable wrath from readers) but what Dana Stevens has recently referred to as “mental-health porn,” taking a cue from Elizabeth Wurtzel. What is most troubling is that Waldman is doing this to herself, and that this is not some nutty Norwegian director who may or may not be in on the joke.

4. Concerning the question of whether Waldman’s kids are harmed, this too is a disingenuous defense. The very idea that her kids will be “furious with [Waldman] for having stolen their lives and humiliated at the extent to which I have laid open my own” again resorts to a certain solipsism (also referenced by “occasionaly failing,” as if the idea of falling flat on one’s face was anathema to existence). It all suggests that Ms. Waldman can’t say no. Beyond this, if the kids did find out, surely such a revelation could be talked out, rather than worrying about the what-if wrath of a reverse Laurence Olivier moment with the offspring shrieking “I hef no mom!”

5. We should not forget that it is Salon’s editors who are exploiting Ayelet Waldman. Damn Waldman if you must, but never forget that they are the ones encouraging this. And, no, Ms. Smiley, it’s not a question of Waldman’s honesty, but what the reading public has clearly seen between the lines. It may not be easy to see when you’re blinded by bucolic glens and horses, but mental illness is a veritable powder keg. 54 million Americans suffer from it, but only 8 million seek treatment. I’m glad to see that Salon’s readers, at least, aren’t dismissing it as some pedantic overreaction.

SF Sightings — Seth Greenland

Tonight, a modest group of people gathered at the Booksmith to catch Seth Greenland, on a book tour for his scathing Hollywood novel, The Bones. The Bones depicts a comedian at the end of his rope contending with the hollow banalities of the television industry. Greenland wrote the novel, his literary debut, because he hated the duplicities of show business. Remarkably, the book has done well in Los Angeles. Greenland suggets that this might be because Hollywood likes to see “its poor self-image confirmed by an external source.”

seth-greenland.jpgGreenland, 49, is a tall man, clad in a black shirt slightly tightened around his lanky frame. A thatch of thinning black hair adorns the top of his uncannily ellipitical head. His face is a vertical edifice offset by a bulbous, somewhat aquiline nose, lined with sunken black eyes that have clearly observed the Hollywood abattoir too many times. As he reads in a raspy voice, somewhat reminiscent of Howard Hawks’ trademark machine gun delivery, he annotates the L.A. references for San Franciscans. Little Dolphins Montessori School, for example, is seen as Tiny Tuna in the novel. And as Greenland is quick to note, fifteen people have seen themselves in the same character. Despite the warm reception (the book has been out a few weeks), Greenland openly wonders if he’ll be as vilified as Truman Capote was for Answered Prayers.

While Greenland is a somewhat intense man, one observes his token smirk of amusement, the telltale impish sign of a comedy writer. When the crowd laughs, his wispy eyebrows arch up, followed by a slight lift of his cheeks and the grin of a man who has, in his own words, used this novel as a surrogate for therapy.

“I don’t have the patience for psychotherapy,” he says.

Before he emerged a novelist, Greenland had authored five plays. When the theatrical atmosphere proved as notes-happy as Hollywood, he figured he could leave New York and get the same relentless criticism, but with a pecuniary shot in the arm to support his family. He turned out the Dr. Dre film Who’s the Man? and wrote for an unspecified HBO series.

Little did he realize that the kinds of movies he wanted to see (which included a script about a suburban dad trying to kill a neo-Nazi in the neighborhood as a nobel act, what he described as a cross between Crime and Punishment and Dilbert) would be sent into the no man’s land of turnaround.

“Most comedy writers don’t want to be writers,” he says. “They want to be in show business.” Angry and frustrated by Hollywood, he turned to writing The Bones. The novel came out of him in one mad rush over six months, with only the final 60 pages undergoing significant revision. He felt changed as a person.

Greenland took some time to lambaste the writer’s assistant on Friends who recently sued for sexual harassment, noting that getting killed and shot down in the most hostile manner imaginable is all part of the business. He says that, as much as it breaks his heart, theatre has moved into the realm of poetry: a necessary but ignored art.

Then there’s the unexpected bonus of The Bones being turned into a movie. He sent the book out to several people, including David Mamet. Mamet really liked the book, but didn’t get back to him until months later. Suddenly, Greenland received a call, “Hi Seth! It’s Dave Mamet. Did you get my email?” Mamet, on the phone with Sony honcho John Calley, wanted to turn the book into a movie and asked if Greenland could fly out the next morning.

“When you don’t care,” says Greenland, “good things happen.”

Bemoaning another ill-fated run-in with Hollywood, Greenland brazenly declared (to David Mamet, no less) that he would only do the movie if he would write the screenplay. To Greenland’s astonishment, Mamet and Calley said okay. Now Greenland’s writing the script and working on his second novel (“much shorter than the first”).

Channeling Pacino, Greenland concludes, “Just when I thought I got out, they pulled me back in.”