Prodigal Summer, by Barbara Kingsolver

A really lovely story, this, of three parallel narratives of lonely people finding their own paths in an Appalachian backwater community, the three stories turning out to be closely linked together (in a gutwrenching but joyful revelation on page 400). Lots of lovely observations about nature and human nature, with the core character a half-Palestinian, half-Polish widow who realises that she can adapt to her new environment and make it adapt to her. I was unaware that the American chestnut was all but wiped out by imported fungus in the early twentieth century; one of Kingsolver’s characters is striving to undo that historical mistake, but by producing something new and better rather than retreating into the past. Greatly enjoyed it.

This came simultaneously to the top of three of my reading lists – the most popular unread book that I acquired in 2015, the most popular unread non-genre fiction book, and the most popular book on my unread list by a woman. The next books on those lists are respectively 1491 by Charles C. Mann; Master Pip, by Lloyd Jones; and Selected Stories, by Alice Munro. (“Popular” in all cases means as measured by LibraryThing ownership.)

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Interesting Links for 23-02-2016

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Shortlist season these days: the Kitschies are out. Here are the two novel shortlists, ranked by Goodreads ownership.

The Red Tentacle (Novel):

Goodreads LibraryThing
owners av rating owners av rating
The Heart Goes Last, by Margaret Atwood 49,751 3.38 537 3.52
The Fifth Season, by N.K. Jemisin 31,607 4.34 321 4.37
The Thing Itself, by Adam Roberts 689 3.98 81 3.52
The Reflection, by Hugo Wilcken 487 3.46 12 3.5
Europe at Midnight, by Dave Hutchinson 461 4.28 32 3.88

The Golden Tentacle (Debut):

Goodreads LibraryThing
owners av rating owners av rating
The Gracekeepers, by Kirsty Logan 12,770 3.63 251 3.58
The Shore by Sara Taylor 4,428 3.55 131 3.81
Blackass, by A. Igoni Barrett 1,875 3.69 16
The Night Clock, by Paul Meloy 872 3.13 9
Making Wolf, by Tade Thompson 87 3.9 8 4
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The Cosmonauts Exhibition

This is Vostok 6, the space capsule in which the first woman in space, 26-year-old Valentina Tereshkova, travelled out and safely returned to Earth in June 1963.

This is Voskhod 1, the first spacecraft to take more than one person into space, Vladimir Komarov, Konstantin Feoktistov and Boris Yegorov being the three-man crew on its brief mission in October 1964. It looks to my eye even smaller than the Vostok capsule in the next case. There was not enough room for spacesuits.

This is Soyuz TM-14, the first Russian (as opposed to Soviet) space flight, launched in March 1993 with two Russian cosmonauts and a German. They docked with the Mir space station; the German stayed only a week, but the Russians stayed until August and brought a more recently arrived Frenchman home to Earth with them. When they landed, the capsule ended up upside down and they hung suspended in their seats until the recovery team reached them.

This is a memorial bust of Sergei Korolev, the Chief Engineer who made Soviet space flight possible.

Working in politics, my instinct is to provide an ideological critique of all of this (and there is plenty to critique). But sometimes one should take a step back and appreciate the achievements of humanity.

The Cosmonauts exhibition runs only until 13 March in the Science Museum in London. Worth a detour, as the Michelin guides used to say.

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The Legends of Ashildr, by James Goss, David Llewellyn, Jenny T. Colgan & Justin Richards

Maisie Williams’ Ashildr didn’t turn out to be Susan as I had once hopedThousand and One Nights,in a story that both respects the original tradition of nested and linked narratives, but also throws in some gender subversion. Colgan’s story of the Black Death is surprisingly bleak. Llewellyn mashes up Columbus and the Hunger Games. Richards wraps it all up at the end. It’s a good collection, perhaps aimed at a more mature readership than is immediately apparent. Let’s hope for more.

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Interesting Links for 22-02-2016

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The Fifth Season, by N.K. Jemisin

Now on the Nebula shortlist (where it’s second among Goodreads, third on LibraryThing) this is one of the most buzzed novels of last year. I very much enjoyed the world-building, both the existence of a minority with powers of manipulating rock and other elements, and the politics of how that works out in practice. I was less excited by the plot and characters, and lost track once or twice. If it gets onto the Hugo ballot I shall give it another try.

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Interesting Links for 21-02-2016

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Nebula novels nominees, ranked by Goodreads/LibraryThing stats

The Nebula nominees are out. Full list is here. I've read three of the novels, four of the novellas, three of the novelettes, four of the short stories, and none of the Andre Norton nominees. (And seen two of the Ray Bradbury nominees.)

The novels, ranked by Goodreads ownership (which is almost the same as LibraryThing ownership except for a swap in second and third pace), are as follows:

Goodreads LibraryThing
owners av rating owners av rating
Uprooted by Naomi Novik 97,850 4.18 761 4.25
The Fifth Season, by N.K. Jemisin 31,351 4.34 318 4.37
Ancillary Mercy, by Ann Leckie 15,719 4.25 448 4.34
The Grace of Kings, by Ken Liu 13,127 3.76 246 3.84
Updraft, by Fran Wilde 3498 3.71 81 3.52
Barsk: The Elephants' Graveyard, by Laurence M. Schoen 2223 3.9 28 5
Raising Caine, by Chuck Gannon 258 4.17 14 4

I'll probably try to read the others, once I've finished my BSFA reading.

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The Pop Singer: Episode 7 of Here Come The Double Deckers

Whole episode dubbed in French (except the songs):

Episode 7: The Pop Singer
First shown: 17 October 1970 (US), 4 February 1971 (UK)
Director: Harry Booth
Writers: Harry Booth and Glyn Jones
Appearing apart from the Double Deckers:
Melvyn Hayes as Albert the Street Cleaner
Anthony May as Sidney, The Cool Cavalier
Ivor Salter as the Policeman

Plot

The gang find a man sleeping in their bus. He turns out to be an unsuccessful musician, a singer of protest songs; they rebrand him as "The Cool Cavalier" and hold a successful concert, ending only when Brains' musical machine explodes. But he decides that the musical life is not for him after all.

Soundtrack

"Life Is A Wonderful Thing", by Ivor Slaney and Glyn Jones. For me this is a rare musical mis-step by the show. The song is set too high for the kids to sing comfortably, and the political message is conservative – this is the point in the story where the gang persuade Sydney not to bother with protest songs. It's another example of the gang being Billie and her backing singers, but there is nothing wrong with that. Judge for yourself:

"Following You" (instrumental), by Ted Atking and his orchestra

This isn't listed in the end credits, nor wasa it included on the album of music from the show, but it's an amazing piece of orchestral groove. (You could probably date the episode to the month of 1970 in which it was filmed by the clothes of the dancers.) Full version on YouTube here.

"I Gotta Get Through", by Ivor Slaney and Michael Begg

I'm not well enough acquainted with 1970 crooning hits to know which other great works of pop culture this is paying homage to, but it's performed with sufficient confidence that it must be firmly rooted in the Zeitgeist.

Glorious moments

The efforts of the gang to rebrand the unfortunate Sydney are a great bit of youthful cooperation and ingenuity. The disco scene, a little beyond the ken of the episode's target audience, is rather well done for what it is. The ending, with Sydney deciding to give it all up and go home, is probably the saddest of any episode, but manages not to jar the overall feel of the series.

Less glorious moments

I don't think you could get away with a homeless man turning up in a children's den with such benign plot consequences today…

My radical heart is saddened by the notion that there is no place for protest songs in a well-ordered world.

It seems implausible that the police would a) take an interest in the gang's disco in the first place, and then b) let it go ahead if they were concerned.

What's all this then?

This is the first real attempt to get to grips with contemporary culture, apart from the hovercraft in Tiger Takes Off. The visual references are obviously Top of the Pops on the one hand, and the Three Musketeers (and perhaps the Royalists of the English Civil War) on the other. But at the same time, the message of the episode is to neutralise the threat of pop culture and demonstrate (to anxious parents?) the virtues of a retreat to traditional values.

There was a 1970 biopic of Oliver Cromwell, starring Richard Harris and Alec Guinness, but it came out in August which would have been after this episode was made. Cromwell's son Richard was played by none other than Anthony May, the Cool Cavalier. So he changed sides at some point in 1970.

Where's that?

All in the studio this time, apart from Albert handing out leaflets in Shenley Road, Borehamwood.

Who's that?

Anthony May (Sydney, the Cool Cavalier) was born in 1946; his biggest hit was a couple of years before Double Deckers as the unnamed male lead in cult short film Les Bicyclettes de Belsize. He hasa long string of TV, film and theatre credits, including the voice of the King of the Dead in Peter Jackson's The Lord of the Rings: The Return of the King and had a bit part in Angelina Jolie's Maleficent in 2014. Apart from this episode of Double Deckers, he doesn't seem to have done much singing.

Ivor Salter (the policeman) was born in 1925, and had a string of minor parts, possibly peaking as a farmer in Crossroads in the late 1970s. He was in Doctor Who three times, first as the Morok Commander in Glyn Jones' story The Space Museum (1965), then as Odysseus in The Myth Makers (also 1965) and finally as another policeman, Sergeant Markham, in Black Orchid (1982). He died in 1991.

Peter Miller wrote two other episodes of Here Come the Double Deckers, Robbie the Robot and The Go-Karters, which are two of the best of the lot; he wrote various other comedy and thriller episodes for TV, but nothing since 1986. His peak was possibly a six-part early evening sit-com called The Square Leopard in 1980, which is panned here.

See you next week…

…for Scooper Strikes Out

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Bektashi humour – repost from ten years ago

Originally posted by at Bektashi humour

In memory of the late Baba Tahir Emini, I’ve been reading up on his sect, the Bektashi. I was aware, from my conversations with him and with others, that they are of a mystical Sufist tradition, preach tolerance, love, and peace, and consider some of the traditions of orthodox Islam regarding the role of women and the use of alcohol to be distractions from the truth. I was unaware that they are also associated with a particular sense of humour, and that there are a whole set of Bektashi jokes told by the faithful about themselves. Some of them don’t translate awfully well, but one of them I feel sure I’ve heard in an Irish version:

One day the Sunni friends of a Bektashi dervish insisted that he go to the mosque to pray the Friday prayer. As he took his seat in the congregation the hodja spotted him. Wanting to embarrass the dervish, the hodja began to lecture on the evils of alcohol. He began describing in detail all of the natural and religious reasons why drinking any alcohol at all is bad. To prove a point that even animals won’t drink liquor the hodja asks “If you put a bucket of water and a bucket of raki in front of a donkey, which will it drink?”

Someone in the crowd answered, “The water of course.”

“Why so?” enquired the hodja.

Unable to hold himself, the Bektashi exclaimed “Why so? Because it’s a donkey!”

There are other jokes that I think could not be told in any other context than an Islamic one:

A Bektashi was in a mosque one day listening to the hodja give a sermon. He was half asleep when the hodja began talking about the pure virgins that awaited the faithful in heaven.

When he heard the word heaven, the Bektashi came to himself and asked the hodja excitedly, “Hodja efendi will wine and raki be served to the faithful in heaven?”

The hodja became furious and shouted back, “You pagan, what do you think heaven is… a tavern?!”

The Bektashi replied likewise, “Hah! What do you think heaven is… a whorehouse?!”

But I am particularly intrigued by the jokes with a certain universailty, but which also presuppose a very close connection between the Bektashi mystic and God, to the point that certain things are expected as of right from the relationship:

One day, the weather grew very hot. Burdened with thirst, a Bektashi dervish decided to buy a watermelon with some change he took out of his pocket. With watermelon in hand, he found a beautiful shade tree to sit under where he proceeded to slice up his watermelon with great appetite. However, after putting the first piece into his mouth, he found it so sour that it was difficult to eat. He began shouting complaints to the Creator, “Alas my God! Are you so stingy that you can’t even put a little sugar in this watermelon. You always bestow favors on Your servants, but never with what is really needed!” Thus swearing, he finished off the watermelon in spite of its tartness and threw the rinds to the side.

After a while he saw a poor waif, half dead with hunger and thirst, approaching. Not wishing to be bothered, the Bektashi sat still and pretended to be asleep. The poor man came close, saw the watermelon rinds and began to eat them. Discreetly, the Bektashi observed the poor man out of the corner of his eye. He saw with astonishment how each time the poor man took a bite of rind he exclaimed, “My God, many thanks to You! You nourish me in spite of everything with this watermelon rind. You have ensured my subsistence!”

Hearing this, the Bektashi became furious and rose up. He shouted, “Enough of this! I ate the inside of that melon even though it was bitter and torturous and believe me, I let Allah know it. But you! You eat the foul-tasting rind and you thank Him for it? It’s this kind of cheap flattery that encourages Him to keep making poor quality watermelon!”

Anyway, my research will continue.

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Friday reading

Current
Watership Down, by Richard Adams (a chapter a week)
Alif the Unseen, by G. Willow Wilson
Mother of Eden, by Chris Beckett

Last books finished
The Insurrection in Dublin, by James Stephens
The Fifth Season, by N.K. Jemisin
The Legends of Ashildr, by James Goss, David Llewellyn, Jenny T. Colgan and Justin Richards
Prodigal Summer, by Barbara Kingsolver

Last week's audios
[Torchwood] One Rule, by Joe Lidster
[Seventh Doctor] The Warehouse, by Mike Tucker
[Seventh Doctor] Terror of the Sontarans, by John Dorney and Dan Starkey

Next books
The Magic Cup, by Andrew M. Greeley
Alice's Adventures in Wonderlandand Through the Looking Glass, by Lewis Carroll

Books acquired in last week
(SF Humble Bundle, some of which I already have)
Damnation Alley, by Roger Zelazny
Roger Zelazny's The Dawn of Amber, by John Gregory Betancourt
Wild Cards Deuces Down, ed. George R.R. Martin
The Deceivers, by Alfred Bester
Dragonworld, by Byron Preiss
The Last Defender of Camelot, by Roger Zelazny
Robot Visions, by Isaac Asimov
Roger Zelazny's Chaos and Amber, by John Gregory Betancourt
Roger Zelazny's To Rule in Amber, by John Gregory Betancourt
Wild Cards Death Draws Five, by John J. Miller
The Computer Connection, by Alfred Bester
Isle of the Dead/Eye of Cat, by Roger Zelazny
The Doors of His Face, the Lamps of His Mouth, by Roger Zelazny
The Stars My Destination, Alfred Bester
Robot Dreams, by Isaac Asimov
Roger Zelazny's Shadows of Amber, by John Gregory Betancourt
The Demolished Man, by Alfred Bester
Arthur C. Clarke's Venus Prime 1, by Arthur C. Clarke and Paul Preuss

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Interesting Links for 19-02-2016

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The Sword of Forever, by Jim Mortimore

I’ve seen some rather negative reviews out there of this Bernice Summerfield novel, but I really enjoyed it: Benny gets caught up in acnient Templar-style conspiracy theories involving a sentient velociraptor and her own mummified finger, across several timelines. Sure, it veers in a somewhat different direction of future earth continuity and Benny’s own marital life, but as I am reading these books in order I find it a refreshing difference. A bit bleak in tone, but that tends to be the case with Mortimore. Could be recommended to a tolerant potential convert to the Bennyverse.

Nest up: Another Girl, Another Planet, by “Len Beech” (Steve Bowkett) and Martin Day.

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Interesting Links for 18-02-2016

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Citadel of Dreams, by Dave Stone

One of the Telos novellas whose quality was sometimes a bit variable, this one with the Seventh Doctor and Ace separately in a city with a timewarp and a deep hidden secret. It’s had some positive reviews but pretty much bounced off me; I’ve liked other work by Dave Stone, but won’t be recommending this other than to completists.

This was the next in the sequence of unread Seventh Doctor novels and novellas on my list after Relative Dementias. Next in line is an early Past Doctor Adventure, Illegal Alien by Mike Tucker and Robert Perry

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Europe at Midnight, by Dave Hutchinson

I hugely enjoyed Europe in Autumn, which we shortlisted for the Arthur C. Clarke Award last year and which also got onto the BSFA shortlist. Here Dave Hutchinson returns to his future world of a fragmented Europe, but from a very different angle: rather than exploring the new frontiers that have been erected in our world, his spy hero finds himself exploring also parallel maps to societies which are liminally linked to us, there and yet not there. It's a book with One Big Idea, explored at leisure and in a way that made me care very much about the outcome of the main characters' investigations. Given the current febrile state of relations between the UK and the rest of Europe, it's a timely reminder that things could be very different. I loved it.

Since I wrote this (my bookblogging is running a few days behind at the moment) it was announced that Europe at Midnight is one of the shortlisted books for this year's BSFA Award. Congrats to Dave; it will be a tough choice.

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Hugo-eligible short fiction Oct-Dec 2015: my first take

As previously noted (here, here and here), I've been populating my potential shortlists of Hugo nominees by reading the output of Tor.com, Clarkesworld, Asimov's, Subterranean Press and Strange Horizons for the calendar year of 2015. I've now finished that process and also read a few other bits and pieces, including most of the stories nominated for the BSFA Award. I'm aware that my list varies quite a lot from other people's, but I'm also encouraged by recent reports suggesting that the best outcome for the awards is simply for lots of people to nominate lots of good stuff. So I'm not going to worry too much about nominating tactically; I'm just going to make sure that I have five good nominations in each category.

From the last quarter of the year, my favourite stories from my chosen venues were these:

Tor.com
[short story] "Some Gods of El Paso", by Maria Dahvana Headley – a great alternate history of emotional transfer.
[short story] "Points of Origin", by Marissa K. Lingen – a very nice story of parenting.

Clarkesworld
[short story] "Summer at Grandma's House", by Hao Jingfang, translated by Carmen Yiling Yan – gay granddaughter helps her grandmother's genetic engineering research.
[novelette] "So Much Cooking", by Naomi Kritzer – lovely story of escaping the plague.

Asimov's
[novella] "Citadel of Weeping Pearls", by Aliette de Bodard – relieved that I liked this after bouncing off her recent novel; splendidly intricate emotional tale of Asian space opera.
[novelette] “English Wildlife” by Alan Smale – wow, really unusual story of ancient English lion magic.

Strange Horizons
[short story] "The Game of Smash and Recovery", by Kelly Link – good story of what might happen to bright children in the future
[short story] "Liminal Grid", by Jaymee Goh – cybercrime in near-future Malaysia – rather good.

So my current set of long lists is as follows:

Novellas
Aliette de Bodard, "Citadel of Weeping Pearls" (Asimov's, Oct/Nov 2015)
Lois McMaster Bujold, Penric's Demon (Spectrum)
Paul Cornell, Witches of Lychford
Eugene Fischer, "The New Mother" (Asimov's, Apr/May 2015)
Kristine Kathryn Rusch "Inhuman Garbage" (Asimov's, Mar 2015)
Lisa Shapter, A Day In Deep Freeze (Aqueduct Press)
Allen M. Steele, "The Long Wait" (Asimov's, Jan 2015)

Novelette
Eneasz Brodski, "Red Legacy" (Asimov's, Feb 2015)
Paul Evanby, "Utrechtenaar" (1, 2Strange Horizons, June 2015
Naomi Kritzer, "So Much Cooking" (Clarkesworld, November 2015)
Sarah Pinsker, "Our Lady of the Open Road" (Asimov's, Jun 2015)
Priya Sharma, "Fabulous Beasts" (Tor.com, July 2015)
Vandana Singh, "Ambiguity Machines: An Examination" (Tor.com, Apr 2015)
Alan Smale, “English Wildlife” (Asimov's, Oct/Nov 2015)

Short Stories
Karl Bunker, "Caisson" (Asimov's, August 2015)
Nino Cipri, "The Shape of My Name" (Tor.com, Mar 2015)
Jaymee Goh, "Liminal Grid"  (Strange Horizons, Nov 2015)
Hao Jingfang, tr Carmen Yiling Yan, "Summer at Grandma's House" (Clarkesworld, Oct 2015)
Maria Dahvana Headley, "Some Gods of El Paso" (Tor.com, Oct 2015)
L.S. Johnson, "Vacui Magia" (Strange Horizons, Jan 2015)
Marissa K. Lingen, "Points of Origin" (Tor.com, Nov 2015)
Kelly Link, "The Game of Smash and Recovery" (Strange Horizons, Oct 2015)
Jay O'Connell, "Willing Flesh" (Asimov's, Apr/May 2015)
Robert Reed, "The Empress in Her Glory" (Clarkesworld, Apr 2015)
Kelly Robson, "The Three Resurrections of Jessica Churchill" (Clarkesworld, Feb 2015)
Iona Sharma, "Nine Thousand Hours" (Strange Horizons, April 2015)
Bonnie Jo Stufflebeam, "Everything Beneath You" (Beneath Ceaseless Skies)
Wole Talebai, "A Short History of Migration in Five Fragments of You" (Omenana)

There are rather too many short stories, always an over-populated category, and I have a new understanding for why it has been so difficult to winnow down that particular corner of the field in recent years. Now I look forward to browsing other people's recommendations – looking particularly at the Rocket Stack Rank and Ladybusiness aggregations of ratings – and also seeing what the Nebula shortlist looks like before I finalise my choices.

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Interesting Links for 15-02-2016

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Short Trips: The Muses, ed. Jacqueline Rayner

The fourth of the Big Finish Short Trips anthologies, and the third edited by Jac Rayner, published in 2003. At that stage we had eight canonical Doctors, so it seems in retrospect a fairly obvious idea to compile a collection of nine stories, each featuring one of them, with one more featuring them all. And while there are many cultural uses of the number nine, the Muses make a pleasing link with ancient culture.

I liked most of these stories, three in particular: (Terpsichore) "Teach Yourself Ballroom Dancing", by Robert Shearman, an unusually good Sixth Doctor story; (Thalia) "The Brain of Socrates", by Gareth Roberts, with the Fourth Doctor and Leela; and (Clio) "The Glass Princess", by Justin Richards, pulling together all eight Doctors in a rather moving story of inexorable forward time travel. Also a shout out for (Calliope) "Katarina in the Underworld", by Steve Lyons, as far as I know the only published spinoff fiction featuring Katarina, and a rare grappling with matters of the afterlife.

Next in this sequence: Short Trips: Steel Skies, ed. John Binns.

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My BSFA votes: Best Artwork

Two of the four pieces that I voted for were among the three shortlisted candidates in this category. The third was Sarah Anne Langton's cover of Jews Versus Zombies, and though I do like its geometry, it doesn't seem to me to be saying much about science fiction, or anything else, so I will rank it last on my ballot once the form is up and running.

It's a very tough decision between the other two, though. In the end, I'm putting Jim Burns' cover of Pelquin's Comet second. It's an arresting composition, but perhaps just a little less adventurous with colour and shade than my top choice, and also rather traditional in its subject matter – not that there is necessarily anything wrong with that, of course.

Which leaves Vincent Sammy's illustration for "Songbird" in Interzone as my top choice. I haven't read the story (and indeed haven't read Pelquin's Comet either, though I did read Jews vs Zombies), but this is the kind of illustration that challenges the reader to find out what the story is about, whereas the Burns piece seems pretty clear on that score. I find the composition pretty fascinating.

Presumably there are only three nominees due to a multiple tie in nomination votes for fourth place – this happened also in 2013 (when I ranked the eventual winner third out of three). I'm a bit surprised to see it repeated with the new two-stage process. Perhaps there was less voter input in this category than the others; if so, an opportunity to celebrate more good sf art has been missed.

Edited to add: Am locking out anonymous comments on this because it's been getting a weird amount of Japanese spam. You can log in using other OAuth identities if you want.

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A horoscope cast by Dr John Dee

When I visited the John Dee exhibition last week, I managed to get a decent picture of the horoscope that he had drawn in the margin of his copy of Ptolemy's Tetrabiblos:

It's a nice clear example of the astrological text. Starting at the left, and going clockwise (therefore backwards through the zodiac), I interpret it thus:

  • The Ascendant (the part of the Zodiac on the horizon) is Leo ♌ 4°2', and Saturn ♄ at Leo ♌ 12° is about to rise.
  • Jupiter ♃ is somewhere in Cancer ♋️.
  • Venus ♀ is at Gemini ♊ 12°.
  • The Sun ☉ and Moon ☽ are both at Taurus ♉ 15° – it's a New Moon.
  • Mercury ☿ is at Taurus ♉ 5°.
  • The Mid-Heaven (the part of the zodiac at the zenith, due south) is at Aries ♈ 27°37'.
  • The Descendant, opposite the Ascendant, is at Aquarius ♒ 4°2'.
  • Mars ♂ is at Scorpio ♏ 21°.
  • A strange star-shaped glyph is marked as being at Scorpio ♏ 15° – I thought at first it might be the lunar node, which would mean that this was the chart for a solar eclipse, but I no longer think so for reasons described below.
  • The lower mid-heaven, opposite the mid-heaven, is at Libra ♎ 27°37'.

That gives us the following set of planetary positions:

Planet  Saturn   Jupiter   Mars   Sun   Moon   Venus   Mercury 
Longitude  ♌ 12°   ♋ ?   ♏ 21°   ♉ 15°   ♉ 15°   ♊ 12°   ♉ 5° 
(numeric)  132°   90°-120°   231°   45°   45°   72°   35° 

It is possible, but tedious, to run these positions through the historical record of planetary positions. I did so, using the proprietary Alcyone Ephemeris, and emerged after a lot of grinding with the following planetary positions for the full moon at 0908 on 30 April 1006:

Planet Saturn Jupiter Mars Sun Moon Venus Mercury
Longitude (Dee) 132° 90°-120° 231° 45° 45° 72° 35°
Longitude (Alcyone)  131°57'00''   100°37'34''   228°00'42''   44°38'33''   44°38'30''   72°13'15''   34°46'00'' 

This is, er, not a bad fit, if I say so myself. I really had to pinch myself to make sure I wasn't dreaming. So I cross-checked with Tuckerman's Planetary Tables which include a timestamp of midnight on 1 May 1006:

It's pretty clear that the software and Tuckerman are in close agreement. So a plausible hypothesis is that Dee – who, let's not forget, lived from 1527 to 1608 – was casting a horoscope for the new moon of 30 April 1006.

Why?

Well, the brightest ever supernova recorded in history, SN1006, was first seen from Cairo on precisely that day, 30 April 1006. (Cairo also fits with the mid-heaven and ascendant, whose relative positions vary considerably with latitude.) Specifically, Ali ibn Ridwan recorded the positons of the planets at the time when the supernova was first seen, and his account is quoted verbatim in the 1964 paper by Bernard Goldstein which first proposed that there might have been a forgotten supernova in 1006 (first page, second page). The planetary positions recorded by ibn Ridwan are exactly the same as Dee with a couple of additions:

Planet  Saturn  Jupiter  Mars   Sun   Moon   Venus   Mercury   Asc node 
Longitude (Dee) 132°  90°-120°  231° 45° 45° 72° 35°
Longitude (ibn Ridwan) 132° 100° 231° 45° 45° 72° 35° 263°

Ali ibn Ridwan was only 18 in 1006, so if these were his own calculations – the Moon and Mercury (let alone the ascending node) would not have been visible, so he couldn't have observed them directly – it's a jolly good piece of work. Goldstein basically did the same calculation as I did, with much more difficulty given the fewer tools available in the 1960s, and came up with the same answer. It is pretty obvious that Dee was drawing up a chart of his own to follow Ali ibn Ridwan's report. The clincher is that the longitude of the 1006 supernova is reported by Ali ibn Ridwan as precisely Scorpio ♏ 15°, which is where the odd star-shaped glyph is in Dee's chart.

So how did Dee get hold of Ali ibn Ridwan's observations? That is the easiest question of all to answer. The horoscope is drawn in the margin of the 1619 Venice printing of Ptolemy's Tetrabiblos, Quadriparti in Latin, which actually includes the commentary on Ptolemy’s text by Ali ibn Ridwan ("Haly" in the Latin tradition) in which he wrote about the 1006 nayzak. Dee was fascinated by the supernova of 1572, and may have spotted this account as relevant to his interests. Or he may have just relished the exercise of drawing up a horoscope for a different day and age. At any rate, I think the story behind this particular marginal note of Dee's is now clear.

Well, that was a pleasant way to spend a rainy Saturday afternoon!

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Scholar, courtier, magician: the lost library of John Dee

Long, long ago, in 1991, I was researching the medieval textbook Liber de arte astronomice iudicandi by the late twelfth-century English astrologer Roger of Hereford, which survives only in a dozen or so manuscripts. Various indications led me to try and compare his text with the earlier twelfth-century translation by Hermann of Carinthia of the ninth-century Introduction to Astrology by the ninth-century scholar Abu Ma'shar, written when Baghdad was the centre of learning of the medieval world. Fortunately, the University Library in Cambridge had two copies of the Hermann translation. It has been out of print for some time; the earlier one dated from 1488 and the later one from 1506.

As I did my research – in the course of which I found that Roger of Hereford had cribbed pretty substantially from Hermann's text (and also cast a horoscope for Eleanor of Aquitaine, using a birthdate of 14 December 1123) – I chose to work from the 1506 edition rather than the 1488 edition of Hermann's book. This wasn't a choice based on which was more legible or accessible; it was purely because the 1506 book had the name of a previous owner firmly inscribed on the flyleaf, and a number of his scribbles and notes in the margins. It was, quite simply, a thrill to work with a book that had been owned and loved by the great Elizabethan wizard John Dee, the man who probably inspired Prospero in The Tempest and a key figure in the murky relationship between early modern science and magic.

That was more than half my lifetime ago. But when I saw that the Royal College of Physicians was hosting an exhibition of books stolen from Dee's library during his lifetime, I knew that I had to go and relive the summer of 1991. And I was right. The books are wonderful artefacts in themselves, but Dee's marginal doodlings make them even more fascinating. I was fortunate to have the company of and as I explored the exhibition on Tuesday morning. Before going to my own photographs, which unfortunately are not particularly good, I commend you to those in this Culture24 article and these by Jason Atomic.


This is a nineteenth-century picture of Dee at Queen Elizabeth's court. A ring of skulls around him was painted out by the artist.

The picture hangs beside a display cabinet including several objects on loan from the British Museum and the Science Museum. These include:

Yes, that is the magical mirror through which Dee and his assistant Kelly held conversations with angelic beings. It is in fact polished obsidian glass from Mexico. The case has a note by its subsequent owner Horace Walpole, author of The Castle of Otranto, quoting these lines from Samuel Butler's epic poem Hudibras:

KELLY did all his feats upon
The Devil's looking-glass, a stone

And yes, that's Dee's own crystal ball in the right of the picture. A golden magical disc is out of shot.

On the shelf below is a smaller mirror, and also this item:

This crystal, according to Dee, was given to him by the angel Uriel in 1582.

I hope that the Royal College of Physicians has installed adequate thaumic safeguards on that display case. Those are some pretty impressive magical items.

Here's the exhibition curator Katie Birkwood (@girlinthe) explaining how the exhibition was put together:

And here is none other than Jeanette Winterson, at the opening ceremony, explaining why Dee mattered:

A couple of warnings. The first two display cases, giving the historical context for the whole story, are right at the well-lit entrance to the first floor display and are covered with protective cloth, whereas the rest are uncovered because they are in the relative dimness of the walls – we missed the first cases and had to go back and look at them. There are two last display cases isolated on the second floor, along with dissected human veins and arteries. It also must be said that the RCP building is a truly horrible example of 1960s architecture.

On the flip side, we found that in the morning at least the buttery in the lower ground floor was open in the mornings, contrary to advertisement, and that that lower ground floor also has a couple of other historical medical exhibits which were worth a few minutes strolling around.

Do go and see it.

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Summer Camp: Episode 6 of Here Come The Double Deckers


Double Deckers – To the countryside

Episode 6: Summer Camp
First shown: 17 October 1970 (US), 4 February 1971 (UK)
Director: Harry Booth
Writers: Harry Booth and Glyn Jones
Appearing apart from the Double Deckers:
Melvyn Hayes as Albert the Street Cleaner
Betty Marsden as Millie
Hugh Paddick as Gerald
George Woodbridge as Farmer Giles

Plot

Albert and the gang go camping, much to the annoyance of a couple camping in the next field, but entirely with the approval of the local farmer. Japes ensue when their donkey misbehaves, and then it rains overnight.

Soundtrack

I've put the French version of the opening song up top; "Into the Countryside" is by regular series song-writers Ivor Slaney and Michael Begg, and features some cinematography reminiscent of Procul Harum's "Whiter Shade of Pale" (which is from 1967 so it cannot be a coincidence). Do have a watch.

"Granny's Rocking Chair" is a beautiful sweet little song, where for the first time we see the Double Deckers as Billie and her backing singers (minus the sleeping Tiger):

Double Deckers – Grannie's Rocking Chair par love15

"Granny's Rocking Chair" is credited to a Mair Somerton-Davies, of whom little else is known except that she is also credited for a 1966 single by a band called Situation. At least, little was known of her until I contacted her daughter, who told me:

Mum was an amazing lady – she had a group called the Tip Toppers we were based in Watford and used to raise money for mentally handicapped… also we regularly used to put on performances for the elderly and had concerts at Watford Town Hall. Mum had two bands one called Tiles Big Band the other called Manego – these were in addition to the Tip Toppers and also she was a Drama Teacher Song Writer, Teacher and also helped people with speech impediments.

"Granny's rocking chair" actually started off as "Granny's Rocking horse" but then as she put it to music it became "Granny's Rocking Chair". The original theme song for the double Deckers was actually written by Mum but in those days they changed a small part of it and she was never paid royalties on it. The song was called "Get On Board" and the original line was "get on board all you people" and they changed it to "get on board with the double deckers" therefore rewriting some of the melody… originally an album was to have been released called The Kids Next Door… it was a shame she was never fully recognised for her amazing talents.

Let that recognition start here.

(And while we're on music, note the nod to Dukas' Sorcerer's Apprentice for an early scene with the donkey.)

Glorious moments

This is a real delight of an episode, with two excellent songs and some excellent comedy moments. The potential villain, Farmer Giles, turns out to be a good guy; and the actual villains, the snooty camping couple, are redeemed by ἀγάπη after ὕβρις and νέμεσις.

Less glorious moments

There's a slightly nasty element of class sneering at Millie and Gerald, who are clearly not as respectable as they think they are. (And they sleep in separate beds; and she's unaware of his military record. Interesting.)

What's all this then?

This is so totally derivative of the 1969 film Carry On Camping that it actually has one of the film's main performers, Betty Marsden, in a very similar role. (Though there is no equivalent here of the memorable Barbara Windsor shower scene; this is a kids' show, after all.)

Where's that?

The bridge is the one at Tyke's Water Lake in the grounds of Haberdasher's Aske's School for Boys, three miles from the studios where most of Here Come the Double Deckers was made. The bridge also featured the previous year in the opening titles of several of the Tara King episodes of The Avengers, and was soon used again for the pre-title sequence of Dracula A.D. 1972 starring Christopher Lee and Peter Cushing. The pupils at the school at this time would have included Britain's current minister for Europe, David Lidington, and also my mate Andrew who works for the European Commission.

The other locations are nearby.

Who's that?

This episode has an particularly high-powered guest cast for its time.

Betty Marsden (Millie) was born in 1919, and was particularly well-known for her regular roles in the 1960s radio comedy shows of Kenneth Horne, Beyond Our Ken and Round the Horne. She also appeared in two Carry On films, Carry On Camping, as noted above, and a small part in the 1961 Carry On Regardless. She also plays the tipsy slave auctioneer Verlis in Assassin, a particularly camp episode of Blake's 7. She died in 1998.

Hugh Paddick (Gerald), born in 1915, was also a veteran of Beyond Our Ken and Round the Horne, where he played Kenneth Williams' sidekick and together they made an unsuspecting public aware of Polari. Other than that, he tended to be a straight man to the likes of Tommy Cooper, Jimmy Tarbuck and Morecambe and Wise, though he got two now-forgotten sitcoms of his own, Rentaghost fore-runner Pardon My Genie (he was the Genie) and Can We Get On Now, Please? in which he played the quietly brilliant clerk of the court. He died in 2000.

George Woodbridge (Farmer Giles), born in 1907, was typecast as playing yokels, inn-keepers and farmers in horror films. But at this stage he was moving into more friendly territory, and he really hit the big time as Inigo Pipkin, the kindly old puppeteer in the ITV children's show of the same name, first broadcast in 1973. Unfortunately he died that year, only a few weeks into the filming of the second series. Pipkins, as the show was renamed, actually worked his death into the plot, brave territory for a children's programme. The show ran until 1981.

Glyn Jones (co-writer and script editor) has been mentioned here a few times. I posted about his life here and the extracts from his autobiography relating to Double Deckers here.

See you next week…

…for The Pop Singer.

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