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Tim Powers' Interview

An author I've recommended before gave in interview to Jimmy Akin. Here's a one of my favorite excerpts, in response to a question about  the use of magic in fiction:

"... I wouldn't advise a writer who sees magic as a nice thing to try to change the way he deals with it! I don't think you can fake these things. I've known writers who try in their stories to endorse moral correctnesses they don't actually care about, or which they even feel to be invalid, just to make their work more palatable to perceived readers' tastes, and it never works. Your fiction is going to reflect what you actually believe and don't believe, and it'd be a mistake for Rowling, for example, to vilify magic just because people think it ought to be vilified. They may be right and she may be wrong, but it's her eyes we're looking through when we experience the story."

If you're not reading Tim Powers you should be.

'nuff said


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New York Times Correction Bias

Media bias is more than obvious in what is not reported. The Democratic Times of New York demonstrate, as the New Criterion makes perfectly clear, that media bias can also be seen in what has to be corrected in is reported.

From the Jewish student being beaten to death by a Palestinian-Arab mob whose life was saved by an Israeli police officer, described by the DToNY as a Palestinian being beaten by an Israeli police officer; to the Salvadoran woman sentenced to 30 years in prison for infanticide, described by the DToNY as a woman imprisoned for having an abortion. These example for a story supporting the reporter's agenda are notorious, as should be the truth.

As the editors of TNC write,

"It reminds us of an item from an unnamed American newspaper that Edward Burne-Jones related to one of his correspondents: “Instead of being arrested, as we stated, for kicking his wife down a flight of stairs and hurling a lighted kerosene lamp after her, the Revd. James P. Wellman died unmarried four years ago.”

Unfortunatley, the original stories end up on the Times' front page, often above the fold. The corrections are buried inside the paper in small, usually one paragraph blurbs.

'nuff said.
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Eating a bit of humble pie

It looks like I may have to eat a slice or two of humble pie when it comes to Marvel's massive event "Civil War".

I was one of the local comic shops I frequent and browsed the Civil War #7. I won't say a great deal about it, since I haven't sat down to absorb it in detail. However, the few moments spent skimming its pages left me very satisfied and downright moved. I think it will surprise many who have been attacking Marvel over this storyline.

This isn't to say that conservative comic fans have nothing to criticize when it comes to what Marvel is producing these days (check out Legion of Monsters: Werewolf by Night for a perfect example of what I'm talking about - more on this in another post).

With Civil War, however, an honest reader may have to admit, in this story's closing act they seem to have got it right.
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The Green Arrow

I predict that the next superhero to see action on the silver screen will the Green Arrow. Some screenwriter in Hollywood must be working on a script; some executive must have a development deal in process.

What, you may ask, leads me to this conclusion? The answer lies in the origin section that closes out week 42 of DC Comics' so-called event "52".

A brief origin story about various DC heroes is included at the end of most issues in this weekly series. Week 42 reviews how the character Oliver Green became the Green Arrow. He was a "millionaire playboy" who came to on a deserted island. He survives by teaching himself how to use a simple long bow that washed ashore with him. When smugglers make their way to the island, Oliver attacks them and makes his way back to civilization.

The wealthy playboy takes up the bow and arrow to fight crime in the concrete jungle. His crime-fighting ways, however, cost him his fortune and he is left penniless living in a tenement. Justice (liberal comic book "justice" that is) required Mr. Green to be divested of his wealth and power in order to "temper his soul" (I guess Green Arrows writers never read Batman).

"Gone forever was the dilettante hero. In his place stood an armed-and-ready political activist ... A passionate Left-wing crusader and urban avenger dedicated to protecting the less fortunate." (emphasis added)

Wikipedia notes that the Green Arrow was created in 1941, during comics Golden Age. "In the late 1960s, however, writers chose to have him lose his fortune, giving him the then-unique role of streetwise crusader for the [so-called] working class and the underprivileged." Writer Dennis O'Neil thought the character needed a harder edge. So he had the character  "...lose his fortune and become an outspoken and strident advocate of the underprivileged in society and the political left wing. For instance, he once saved a child's dog playing in a railyard, but instead of feeling satisfaction, he brooded on the larger problem of how the child had nowhere in the city to play safely." Conservatives, i.e. the political right wing, care nothing for the poor and children who have nowhere else but busy railroad yards to play in.

In Green Arrow's latest incarnation, following DC's Infinite Crisis series, the Star City Mayor Green, using "an open interpretation of the town charter to perform same-sex marriages in Star City as a both a political statement and a way to boost the local tourist economy." Bet you didn't know that same-sex unions were a big draw for tourist dollars (your kids are reading this stuff, don't ya know).

This character has Hollywood blockbuster - summer tentpole feature - starring Matt Damon as Ollie Green written all over it. Someone in tinseltown has  to be working on this.
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Debunk Christianity?

Doing just that seems to be at the top of this big time Hollywood  producer.

What do you think the chances are the Mr. Cameron's next project will involve proving that Mohammad was never in Jerusalem?
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Stalin's ghost haunts Black Sea hotel

This has the making of a great ghost story.

In reality, the "One thing the Stalin hotel won't remind guests about, however, is the nightmarish side of a totalitarian regime that imprisoned millions of people in the Gulag."

With a little artistic license Stalin's Dacha becomes a center of pilgrimage for a few American academics, who believe that, in fact, their god did not fail. Only to find that they've been plunged into a dark Communist nightmare. Will it change their minds? Who knows. Who cares. The first order of business is mere survival.

It has potential. Maybe.
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Fascinatingly Normal

Regina Doman cites G. K. Chesterton so as to unpack her fascination with fairy tales, in an interview with Ingatius Insight. Here is the exchange:

IgnatiusInsight.com: You’ve said that you are fascinated by fairy tales because they are not, like typical realistic teen books, about weird people in a mundane world, but about ordinary people in an extraordinary universe. Unpack that remark a bit, if you would.

Regina Doman: I received that insight from G.K.Chesterton, who said in Orthodoxy,

"Oddities do not strike odd people. This is why ordinary people have a much more exciting time, while odd people are always complaining about the dullness of life. This is also why the new novels die so quickly and why the old fairy tales endure forever. The old fairy tale makes the hero a normal human boy: it is his adventures that startle him: they startle him because he is normal. But in the modern psychological novel the hero is abnormal... hence the fiercest adventures fail to affect him adequately and the book is monotonous."

Anyone interested in stories and story-telling should think long and hard about this quote from Chesterton.

Creatives whose situations involve normal people in abnormal situations are few and far between. Far more likely we find the abnormal being praised and held up as that toward which one should aspire. This has become so ubiquitous that most poeple think abnormal is normal.

I'm suddenly aware that my very normal life is actually counter-cultural.
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It's the little things that count ...

when it comes to the cultural front in our war against Islamo-Fascism.

Theodore Dalrymple notes a small incident which displays how England ignores this reality at its own peril.
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Are we blind to evil?

I just listened to Dennis Prager's 2nd hour from Monday, February 12th. I was struck by the woman who called, appalled at the sentence the brothers received. She kept referring to them as sick; they needed help like Andrea Yates or Susan Smith. This caller's pleas left me wondering: Are we blind to evil?

What those brothers did to that poor dog was simply evil, and society cannot suffer evil in its midst. The brothers deserve the punishment they got. In fact, they should count themselves lucky that it was only a 10 year sentence.

I was dismayed to not hear one caller call this act of torture what it was: Evil ... pure and simple evil.

It is no wonder that the majority of folks have elected Congressmen and Senators who are running away from the war against Islamo-fascism. An overwhelming majority of Americans can no longer see evil when it stares them in the face. Instead they see someone who is not simply not well; someone who needs help.

Americans have replaced religion, which has a great deal to say about good and evil, with psychology, which, when it comes to good and evil, is mute.
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Marvel Comics at War with America

Marvel Comics, it seems, finds very little of worth in the United States of America. one can conclude little else after reading the anti-American garbage Garth Ennis writes in Ghost Rider: Trail of Tears.

Trail of Tears is about Travis Parham, a Confederate soldier in the midst of America's War between the States. He is left for dead, following a brutal battle sequence and found later that night by Caleb, a black man scavenging guns from the fallen soldiers.

Caleb, we learn, bought himself and his wife out of slavery and now farm their own land. Presumably, events take place in the South. This leaves me wondering how a slave would have earned enough money to buy himself and his wife out of slavery. They were slaves after all, and slaves don't tend to get paid. Never let simple reason get in your way when trying to score points with stunning dialog such as this:

Travis: "I am ... not yet myself. My head feels stuffed with cotton, or the like. Boy, fetch me som water..."
Caleb: "I'll take a moment alone with our guest. / Ain't nobody gits called boy 'round here. Ain't nobody gonna sir you, neither. / You best git used to that right quick. Don't think you can, start crawlin' an' good luck to you. Break youself off a limb to lean on, I see you makin' a mile a day, easy."
Travis: "I... I see... / but why... I am your enemy why even give me succor in the first place?"
Caleb: "You my enemy, huh?"
Travis: "I am a lieutenant in hte Confederate Armey. The men I fihgt would free you, or so they claim."
Caleb (scowling at Travis): "You see a like of Abraham Lincoln on these here walls?"
Travis: "Eh?"
Caleb: "I am free. Bought myself outta servitude ten years past. Bought Esther [Caleb's wife] out the same day. Earned the money fair an' square. Ain't nobody never done nuthin' for me." [Emphasis in original]

Wasn't there a single editor that could have asked Ennis how, exactly a slave buys his way out of slavery? That means that someone would have had to be paying him for his work, which kind of flies in the face of the line: "Ain't nobody never done nuthin' for me." It seems someone was doing something for him, like treating him as an employee when all his brethren worked as unpaid slaves.

Let's put aside that rather nonsensical bit of storytelling and move along. Travis, as noted earlier, heals from his wounds and spends two years working for Caleb. One day, while out plowing a field he discovers a shrine Caleb set up to honor his ancestors and family's gods. Travis, the curious little goat, does what I'm sure anyone would do when seeing a burning skull in a tree stump; he sticks his finger in it. This sends poor Travis off to the land of hte dead, where we get our first, and only image of the Civil War era Ghost Rider in this issue.

Travis, seemingly lost for a few moments in the land of the dead, is saved, again, by Caleb. Cut to several years later and Travis, now that the war is over, decides to leave Caleb's farm for the promise of the wide open West. At which point we get a few lines from Caleb about the evils of the American Civil War and Manifest Destiny.

The Civil War, according to Ennis ... uh, I mean, Caleb was nothing but a "trap" set by the likes of "Mister Colt an' his freinds." How about that bit of American history. The Civil War was not over the idea that one man could own another man. Instead it was so the maker of the Colt 45 could get rich. The only problem with this bit of non-history is that Samuel Colt died in 1862. In the story, the timeline is the end of the war, i.e., 1865.

Caleb's sounds a bit like the anti-war Left as he tries to convince Travis to not head West, young man:

"You gonna go out West an' it gonna be just like the war. You gonna kill or be killed. Comes to the injuns, you gonna do a mess o' killin' -- 'cause that how it been in this country since the beginnin'. Gonna e them that goes out an' fights for the territory, an' gonna be them that provisions the fight. Come the end, won't be them that done the fightin' guts their hands on the spoils. ... I know a thing or two 'bout what folks gonna do to turn a profit." [emphasis on original]

One could go right from this to the Nation Magazine and not skip a single beat.

Travis tells Caleb that he wants Caleb and his entire family to join him out West after he establishes his homestead. Travis fears for them all since the South "is not a Christian place." Caleb, with something of a smirk on his face, tells Travis, "...what happens to them injuns you gonna see not Christian then." Ennis closes the book with the required shot of three early members of the Ku Klux Klan staring down at the Caleb's farm.

Ghost Rider has become a work from which a British Leftist can peddle pathetic anti-American dribble while scoring points among his anti-war buddies in the Marvel publishing house.

The only good thing I have to say about this book is its art. I was initially intrigued by the book because of Clayton Crain's rather compelling work. Unfortunately, this can't redeam the anti-American message in the story.

Based on browsing future titles in this series it is easy to predict that Caleb and his family will be killed by the Klan, his wife, very likely will suffer a brutal rape and Caleb will be lynched. Travis will become the force of vengence, i.e., the Ghost Rider out to kill the evil white men responsible. I have little doubt that future issues will be chock full of evil white men abusing indians and blacks ad nauseum.
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This week's titles

The pickens from my comic shop subscription box were rather slim this week. On first glance, however, they look pretty good.

The first was Hulk 103; Part 4 of 4 of the Allegiance portion from the current Planet Hulk run. Parts 1 -3 of the Allegiance storyline saw a love interest for the Hulk blossom. In part 4 the relationship is consumated. The Hulk, not Bruce Banner, is the object of another's affection. Fascinating.

A few words about Planet Hulk. This is a story far better than anything one will find in Marvel's current Civil War mess. Planet Hulk is about the Hulk leading forces against a tyrannical regime on an alien planet. I enjoy this series because it avoids the obvious political parallels currently being forced into Civil War. I can read this as an allegory about those who live under the tyranny of Islamo-fascism. No doubt, Left wingers read this as an allegory about what is currently happening in Iraq, with the insurgents, as Michael Moore has all but stated, on the side of right and America as the oppressive tyranny.

The second title I picked up is a short Ghost Rider series, titled "Trail of Tears". My brousing the book tells me that it takes place during America's Civil War. It looks like it will cover some very well covered ground, with the KKK making an appearance at the end of this introductory issue. I'm stunned. The racist Ku Klux Klan as the bad guys. What a shocker. I've not read this closely, yet, so perhaps the story redeems what looks like will be just another predictable rehashing of a portion of American history that shows America at it worst. Now if the writers really wanted to be original they could have kept the story in the same time period but instead focused on Northerners, living in New York who owned slaves. A bit of American history that very few people know about.

The final title is The Dark Tower: The Gunslinger Born. It tells the story of Roland Deschain, the Gunslinger of Stephen King's Dark Tower epic. King has the role of Creative and Executive Director. It is a Marvel limited series title that, like Planet Hulk, takes place far from Civil War. This, apparently, is a must have title, since the shop I get my books from sold out all 150 copies they ordered in just a few days. My brief review of the first book leads me to think that this will be a very good series. One that, like Neil Gaiman's The Eternals, will leave readers wishing for more when all seven issues are published.
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Hellboy - Animated: Sword of Storms

I'll admit it. I'm a huge Hellboy fan. I love the movie and the comics. Now there is a new entry in the Hellboy media: Hellboy Animated.

I just finished watching the Sword of Storms and loved it. It has all the heart and adventure of both the comic and the movie.

It also has another great line. The first film had a great line. As Hellboy wrestled with his demon nature he is told "Your Father gave you a choice", or something to that effect, as he looks into his palm after it's burned by a cross. As a Christian I love that moment.

In the animated Hellboy another great line is given. During the flight back to B.P.R.D. headquarters Hellboy says, to Abe Sapien and Liz, " The world needs what we can do. That makes us good guys. That’s enough for me."

I think this line pefectly captures America in the world today. It needs what Americans can do. And that is why Americans, no matter what the Hate-America Left says, are the good guys.
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Superbowl

I don't have television service so I won't be watching the "historic" Superbowl. So I won't see either of the head coaches, who happen to be black Americans.

Listening to the pre-game led me to think that this is all that mattered is that the head coaches are "African-Americans".

So now I am wondering, where are the "Swedish-American" head coaches in the NFL? I'm a Swedish-American (my mother is Swedish), where are people of my ancestry in the NFL? No one cares about Swedish Americans.

Well, neither do I to be honest. But since we have a black man leading each Superbowl team that is all the liberal main scream media wants to focus on.

There was one moment with Coach Ditka on the radio, that I'm sure everyone watching television did not hear. Coach Ditka, after listening to each head coach being queried about being the first "African-American" head coaches in the NFL to reach the Superbowl, said, I paraphrase, "Who cares if both coaches are African-American?"

Thank you, Coach Ditka.

Maybe someday the liberal main scream media will follow the rest of America and get over its fixation on race.
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Christian stories as sources for fantasy fiction

Reader D. B. Light, noting my admiration for the work of Tim Powers, made me aware of another Southern California native who writes fantasy fiction, James P. Blaylock.

I did a breif web search and came across this interview Blaylock gave back in 1988. It includes a fascinating exchange that begins with the Wandering Jew myth.

Glen Cox: In the majority of versions, is the Wandering Jew Judas Iscariot?

James Blaylock: No, no. I find that in the majority of versions the Wandering Jew was generally a shoemaker who had been sitting on a stoop or something like that while Christ was hauling the cross up the hill. And as I recall the story, but I may have this wrong, Christ wanted to sit and rest but the cobbler wouldn't let him sit on his stoop to rest, and Christ as a consequence said that he would never die but would wander the world forever. It doesn't seem to matter which version of the myth you read, there are always certain similarities--affinity to animals--and also the fact that despite his starting out being a sort of nasty character, he always turned into a highly-regarded character, kind of a folk hero type.

GC: I really liked that you made him Judas Iscariot. I had heard a version of the Wandering Jew legend like you just described, but when I read that, something clicked saying, "Yeah, Judas." It's a form of change. You always think about, "Does the character change in the novel?" but here's a character who's changed before the novel and we get to see what he's changed into. And you've always known the bad stuff.

JB: Well, in fact, one of the first detailed Wandering Jew tales that I heard had it simply that Judas was so overwhelmed with remorse for having betrayed Christ that he attempted to hang himself and failed--he couldn't--and was condemned to wander. And at that point there were a lot of things that had clicked in my mind having to do with the thirty pieces of silver. There's a pretty fascinating discussion in...I can't remember if it's Matthew or John--the whole notion that it was necessary for Judas to betray Christ with a kiss when in fact the people who were out to arrest him knew exactly who he was. Why was it necessary to identify him? There are a lot of, as is true throughout the Bible, a lot of strange and peculiar elements that are never summed up or explained, and which invite a fictional explanation.

GC: That brings up an interesting point. Not too many people are writing fantasy based on the Bible...

JB: No.

GC: And here's a fantasy that's got a basis in the Bible, yet it's not. It really doesn't have a Christian moral.

JB: Not really. Not any more than any other book.

GC: It looks to me like a mine that has yet to be tapped in fantasy. Orson Scott Card has been going on about how he's tired, like most of us are, of fantasies about medieval 15th and 16th century British culture. This was part of the reason behind his Alvin Maker series, to capture some of the American folklore. And yet, here's this biblical folk stuff that we have and no one's tapping it.

JB: Oh, yes, absolutely. I grew up going down the street to the Presbyterian church. I've been steeped in biblical stories my entire life, as many of us have. Given what Christianity has evolved into throughout Europe and the world, why, man, there's this giant, almost untapped quantity of stuff.

If this motivates you to begin mining the Christian history for story ideas, Blaylock is quick to remind you that first and foremost tell a good story; do not proselytize.

One of the things that I wanted to do in [The Last Coin] was to avoid insulting anybody's religious notions. I wanted to be very careful not to have anybody think I was proselytizing or trying to insult Catholics or Jews or anybody else. I wanted to use the mythology without anybody saying, "Here's a Christian novel." I really admire the writings of C.S. Lewis and Charles Williams, for example, two of the great fantasists without a doubt, especially Charles Williams. One of the things that I admire about those two is that they had a real obvious Christian persuasion and yet they developed their plots by drawing on world mythologies. Neither one of them had anything against hauling Egyptian gods or hauling Eastern mythology into their books. No problem at all. Because I think that they genuinely saw it as one big fascinating connected thing.


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Superman as weepy momma's boy?

ComicBloc.com has a brief news post about a teaser image from DC Comics. The post includes an image released by DC marketing, which leaves you thinking that Superman came through Infinite Crisis with a big case of the Whimpies.

This picture has to be seen to believed. I'd post here, but Townhall doesn't allow that (yet?). Go and see it for yourself.

This new Man of Steel is drawn weeping, practically  inconsolably, with his face buried against Wonder Woman's bossom. Man of Steel? I don't think so. More like Man of Straw.
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