Welcome to the Playpen, our space for ferrety banter and whimsical snippets of things that aren't quite long enough for articles (although they might be) but that caught your eye anyway.
With the Mechanique novel, at least (can't speak to the short stories) it is a collapsey sort of setting, but it's all so vague and kaleidescopic it didn't really feel like a post-apocalyptic novel to me. I'm not a huge fan of them, mostly because they always seem either terribly contrived (ala Hunger Games) or, to get back to Stephenson once more, a bad excuse for dumb, first-person-shooter aesthetics and תו לא.
No, what I have serious issues with is post-apocalyptic settings of a particular sort, and as far as I can tell the Circus Tresaulti lives in one.
Maybe I should try Reign...
If you are even slightly invested in historical accuracy or in period costumes, prepare for a staggering, brain-melting amount of utter WTF (think of it as Gossip Girl set in a sort of alternate history Valois court). But it's actually good fun to watch in a completely silly way, especially if you've got a Genevieve Valentine-esque mental voiceover running parallel to it, like I do :) And their Catherine de'Medici is excellent.
Excellent, just have to shove him in the direction of Black Library and soon he will arrive at his natural home...
I would love to read Mechanique, but unfortunately as far as I can tell (from reading a couple of Valentine's short stories set in the same milieu) it would traumatize me a LOT. I do point my friends who like steampunk at it, though. Agreed that she needs more love as a fiction writer.
But gawd, do I love her criticism, both the silly and the serious. (She does these fabulous bad movie reviews over at her blog that are pee-your-pants funny.)
In The Silence of the Lambs, just from the very first instant you see Hopkins standing there in his cell, he has this incredible intensity that makes for a compelling character but a very poor disguise. I guess you could argue that he hid his true nature before and now that he's caught, he no longer needs to maintain the charade, but that just feels flimsy to me.
Also, this has nothing to do with the previous discussion, parts of which have been delighting my little anarcho-marxist heart, and have led to a few additions to my to-read list (thanks for that!); but, emboldened by the fact that I strangely enjoyed The Woman in White back when the TeXt Factor practically forced me to read it, I have decided to pick up No Name. Now that I'm halfway through, I'm steadily developing the same kind of weird fondness for it I had for its predecessor, and I'm starting to wonder what the ferretcrew would have had to say about it. The characters are weaker - it hasn't got its Marian, or Count Fosco, for that matter - but there's still plenty to latch on. So far it has delivered
I think Manhunter is the better movie, but mostly because I'm a partisan for Brian Cox's interpretation of Lecter and Michael Mann's direction, both of which veer back from the horror movie melodrama that Hopkins/John Demme used for Lambs. Graham is an interesting character in that mainly because Michael Mann does a masterful job of playing with the idea of how psychological profiling and police procedure is just as much a form of manhunting as serial killing is, albeit from a position of insight and empathy and understanding and rationality as opposed to coming from an irrational place which doesn't understand why it's doing what it's doing and struggles to relate to the world outside of itself (see, for instance, Graham's ability to empathise with Dolarhyde and get inside his head whilst retaining his outrage at what he's done, compared with Dolarhyde's utter misinterpretation of a moment he witnesses with his girlfriend when he decides she's Like All The Others and needs to die and the way he doesn't actually give two shits about his victims because they're just a means to an end for him).
But Clarice has a better story arc and can basically do more or less anything Will does and I'm a little sad that Mann and Cox didn't come back for the sequel. If nothing else, it's slightly too easy for Clarice to retain her "don't trust Lecter 100% instincts" when he's Anthony Hopkins chewing the scenery to an extent where he may as well be dressed as Dracula with a DON'T TRUST ME sign about his neck, whereas if he were Brian Cox turning on the charm he uses to effortlessly steer Will Graham's family into mortal peril in Manhunter, well, that'd be something to see.
But on the other hand, you don't get that many books about the time period.
If you're up for some nonfiction, I found Newton and the Counterfeiter really gripping and enjoyable.
But on the other hand, you don't get that many books about the time period. Hmm...
Try Salamander by Thomas Wharton instead. It's a heckuvalot shorter, and has automatons in it.
Not sure how relevant that is, but it just struck me how many things in this conversation could be applied to Mieville and his books as well.
The Barqoue Cycle contains one of the worst sex scenes I've ever read, so it might be worth looking at just for that...
As I mentioned in my review of the 40% of the Baroque Cycle I could actually stand to read, I found it to be increasingly dull and preoccupied with some sort of agenda which Stephenson never set out clearly enough for me to be entirely comfortable with.
If you're thinking of the sex scene I'm thinking of, there's some discussion of it in the comments.