Russians Wickedly Affirm their Russianness while Plotting Our Destruction

It is sometimes not only advisable, but necessary, to avert one’s attention from the ugly violation of forms in the political arena — from the frowning formlessness of doctrinaire fanaticism — so as to take in things actually beautiful and therefore supremely real.  “Smuglyanka Moldavanka” (“Smiling Moldavian Girl”) is a soldier-song from World War Two that has become something like a folksong because it is actually beautiful and therefore supremely real.  Now “flash mobs” are a consequence of our burgeoning communications technology and can manifest themselves obnoxiously in crowds of what in journalese are invariably called “youths.”  They can also approximate to the spontaneity of art, which happens to be the result in the video-clip above.

Below, also purely for enjoyment, is another Russian “flash-mob,” this one singing the well-known song “Kalinka” (“Little Red Berry” — not a reference to Barack Hussein Obama), originally composed for a Russian Vaudeville in the 1860s.  Watch what happens when store security shows up – and be prepared to smile, like the Moldavian brunette.  Notice that little red berries are conspicuously on sale in the middle of the produce section.

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Hacked by Russia: A True Confession

It is not from any desire to shock my fellow Orthosphereans, but merely in order to explain how, beginning as a bland and generically liberal person, I came finally to be associated with an ultra-right-wing website obviously controlled by the spuriously defunct KGB, that I make the following confession of my long history of seditious crimes and treacherous misdemeanors. The evidence against me is overwhelming.  Below is Exhibit No. 1.

tfb-with-yessen-zhasoursky-december-1986

Left: Yessen Zhazoursky, Dean of the School of Journalism, Moscow University; Right: Yours Truly (TFB),  Doctoral Candidate in Comparative Literature, UCLA.  (Fall 1986)

The location was a beach house on Old Malibu Road, with convenient access to the Pacific Ocean hence also to surreptitious traffic to and from casually surfacing Soviet submarines in Santa Monica Bay.  (See the recent Coen Brothers film Hail Caesar!) I call attention to a damning detail of the photograph.  Obviously the Dean and I are exchanging vital, secret information in the medium of coded inscriptions in a notebook that can be concealed in a jacket pocket.  The red stripes of my shirt might also be significant.  By the way, the affair had been organized by Pepperdine University, long known as a communist front.  Below, again, is Exhibit No. 2.

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Sex, Movies & Traditionalism on Mars

Of possible interest to Orthosphereans, my essay concerning Sex, Movies & Traditionalism on Mars  has appeared at Angel Millar’s invariably edifying People of Shambhala website.  The essay concerns independent Minnesota-based filmmaker Christopher Mihm, whose Saint Euphoria Studios has found a niche – and an audience – in the production of low-budget black-and-white retro-pastiches resembling the B-grade science fiction and horror movies of the 1950s.  I argue in Sex, Movies & Traditionalism on Mars that Mihm’s Cave Women on Mars (2008) is a cryptically non-politically correct film that employs a studied rhythm of low-comic japes and serious storytelling to argue for sexual dimorphism, with all its attendant and historically understood differences, as the basis of social life, expressing itself most essentially in the formation of the customary family, with its aim of bringing procreation under morality.

The essay also explores the question whether, in a politically correct environment, it might nowadays only be possible to articulate traditional insights, in public, by indirection. Mihm’s  film-festival audiences are undoubtedly liberal, and it appears that he has found a formula for making his dissentient points subliminally and covertly.

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Just for Fun: Into Plutonian Depths

Planet Stories Vol. 4, No. 6 (Spring 1950).  Cover by Allen Anderson

Planet Stories Vol. 4, No. 6 (Spring 1950). Cover by Allen Anderson

A peculiarity of popular culture, which is also commercial culture, is that it dislikes competing with its own earlier iterations. Commercial culture therefore tends to be dismissive or even hostile in respect of its past, emphasizing its ever-renewed, up-to-date, and often cloyingly topical relevance, as its chief sales point. This state of affairs means that the consumers of popular culture, while they are aficionados of genre, often know little about the history of genre, what we might call the archive. Science fiction – which established its market in mass-circulation “pulp” magazines in the 1930s, and then prolonged its appeal in the form of the mass-circulation paperback in the 1950s – offers a case in point. One has only to compare Amazing Stories, Astounding, and Planet Stories, whose heyday was the 1930s and 40s, with the magazines that succeeded them during the Eisenhower presidency and into the 1960s: Galaxy, The Magazine of Fantasy and Science Fiction, and the revamped Astounding that now called itself, perhaps a bit pretentiously, Analogue. The pulps were bulky in format, with three-color covers depicting space-dreadnaughts in combat, bug-eyed monsters assaulting human beings, and buxom women breasting the cosmos in metallic vacuum-proof bikinis. The “slicks” responded to a changing market, or to a changing and sometimes rather snooty notion of propriety, by shrinking themselves down to digest size and offering visually a more austere internal appearance. The magazine covers became solemn, satirical, or abstract, but as a rule they avoided sensationalism, and occasionally they bade fair, as in Ed Emshwiller’s many fine covers for Galaxy, to be artistic.

The pulps filled their pages with scientifically insouciant forays into interplanetary space, Suetonius-like pseudo-histories of galactic empires, and extraterrestrial hero-sagas that might well be described under the formula of Beowulf on Mars. The slicks, by contrast, bound their contributors to the rule of plausibility and preferred them to submit material that eschewed the motifs of grand invention and hero-quest in order to focus on sociological trends and dystopian speculation. When the mass-market science-fiction paperback appeared in the early 1950s, it mainly republished material that had originally appeared in the older periodical venues, but by the mid-1960s the character of the content had altered. Whereas the Ace paperback list corresponded largely to the pulps, the Ballantine, Avon, and Signet lists corresponded largely to the slicks. The slick disposition considered itself as representative of positive progress beyond the pulps in the direction of intellectual sophistication, political sagacity, and aesthetic refinement. Historians of the genre mainly endorse that self-evaluation. But is it so?

Even when they suffered from hasty writing, the pulp stories displayed a myth-like vitality and a powerful moral, if not exactly ethical, impulse that to some degree went missing from the genre about the time that the hyperbolically Romantic Planet Stories ceased publication in 1952, and when Galaxy and Analogue rose to the forefront of the genre. This longstanding suspicion – that the naïve phase of science fiction, superseded by the sophisticated phase right down to the present, often excelled its successor-phase in richness of imagery and narrative muscularity – has recently found happy confirmation in the entrepreneurial intuition of Gregory Luce, a well-known broadcaster on San Francisco area radio and television. Luce’s Oregon-based, web-mediated publishing enterprise, Armchair Fiction, in cooperation with online megastore Amazon’s publish-on-demand service, has undertaken since 2011 to return to print lost items of genre fiction, mainly science fiction, from the mid-Twentieth Century that have been out of print and hard to find for decades. The result is an enormous boon for fans and students of Pulp-Era stories of planetary adventure. That there is a market for such things is also, in its modest way, a sign that cultural amnesia, while prevalent, is not total.

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