Second paragraph of third story (“A Moment in History”, by Andy Frankham-Allan):
At least this time he wasn’t a child. If he were to guess, he’d place his new… host? As good a term as any… in his mid- to late-twenties. Intelligent blue eyes, fair hair slicked back, cut very short, and dressed in formal clothes. Shirt and tie, brown slacks, brown shoes. A professional of some sort? Although, going by the paraphernalia in the surrounding room, he had a feeling this was just how men dressed in the era he’d found himself in. The bedroom had a distinctly 1930s feel to it. Everything from the light shade hanging from the ceiling, to the dresser before him and the design of the blanket covering the ornate looking bed. But who was he?
A set of short stories set in the sub-sub-narrative of the Laughing Gnome, where Alastair Lethbridge-Stewart and his comrades Bill Bishop and Anne Travers Bishop find their minds displaced into people and places in the past century or so. I must say that while I have been frankly disappointed with a couple of the novels of this sequence, the short story format worked very well for me. Particular standouts are S.J. Greonewegen’s “Locked In”, a quick tale on a botched WW2 military exercise that has more than it seems, and Roland Moore’s “The Last House on Sandray”, which brings back an unexpected character from Classic Who. Overall generally an uptick. You can get it here.
Two formatting points though: there is no table of contents, and the editor (if it is Shaun Russell) is credited in tiny print on the inside cover.
Next in this sequence: Home Fires Burn, by Gareth Madgwick.
Latest in the Black Archive sequence of monographs on Doctor Who stories, the first of a trilogy with the next two. I don’t seem to have written much about Face the Raven before, though I included it in my starters’ list of New Who five years ago. I actually saw the set for the story when I visited the Cardiff studio in 2015, and though I did not take pictures, I very much liked it. The producers did too, and kept it around for a bit longer than had been planned. This of course was many months before the episode was broadcast, and one of the marvels of TV is that what is actually quite a small and constrained space can be made to look much more expansive on screen, as if, to coin a phrase, it is bigger on the inside than the outside.
Rewatching it now, I felt that it somewhat pulls its punches. I had completely forgotten who Rigsy is, which slightly blunts the drama. For the high stakes of the story, I didn’t really think that Capaldi and Coleman quite rose to the emotions of the occasion. Stephen Moffat has a habit of killing off his main characters and then resurrecting them again, and that expectation also slightly deterred me from investing much in the drama (and indeed Clara comes back again two episodes later).
Having said that, I’m definitely not one of the Clara-haters who were so prevalent in the fandom at one point. I really like Jenna Coleman as an actress, the character was intriguing and had more of a real arc than most Who companions old or new, and the way that she is brought down by her own hubris, in a small alley off the real world, does work for me. And I’m also a fan of Maisie Williams, whose character Ashildr gets a good outing here. (But I’ve never had my picture taken with her.)
S.J. Groenewegen is a friend of mine anyway, and I’ve enjoyed her Who fiction. Here she brings a close analytical lens to the story, pulling up all kinds of things that I had not really thought of; the Black Archive at its best produces books that you like more than their subject episodes. This has a short introduction and four long chapters.
The first chapter looks in depth at the character of Clara. Groenewegen starts by pointing out that Clara was basically invented to satisfy the needs of the 50th anniversary in 2013, and Coleman actually appeared and got killed off twice before becoming established as Clara Oswald, twenty-first century schoolteacher. She looks at the role of companions and how this worked out in this particular case. Sometimes fans invest more in the emotional dynamics of a show than is really there, but I was convinced by the argument here.
The second chapter looks at Ashildr and Rigsy as returning characters, and reflects on how the show interrogates time and change, and the Doctor being held accountable for his actions. There’s a brief but fascinating exploration of the Ashildr/Clara relationship.
The second paragraph of the third chapter is:
Vivian Sobchack observed that contemporary American science fiction and horror movies also rely on making the familiar unusual1. The motif of Earth as home being ruptured by the alien is a common one in Doctor Who, especially during the late 1960s and 1970s. Indeed, one of the most effective Doctor Who scenes is the sight of dummies coming to life and bursting from their shop windows to terrorise the passers-by during Spearhead from Space (1970). As Jon Arnold observes, ‘They are the most logical choice from a gallery of Doctor Who’s gallery of monsters’ to bring back in Rose (2005) because they are ‘a place of domesticity suddenly rendered shockingly alien’2. 1 Sobchack, Vivian, ‘Child/Alien/Father: Patriarchal Crisis and Generic Exchange’ in Penley, Constance, Elizabeth Lyon, Lynn Spigel and Janet Bergstrom, eds, Close Encounters: Film, Feminism and Science Fiction. p16. 2 Arnold, Jon, The Black Archive #1: Rose, p30.
The chapter looks at geography, London and refuge, and the way in which Doctor Who interacts with the real universe (there is a real London; there was a real refugee crisis at the time the story was made). Lots of other writers are invoked, in particular Paul Cornell and Ben Aaronovitch.
The final chapter looks briefly at the symbolism of ravens, reminding us that they actually have something of a history in Doctor Who, and in more depth at the subject of death, which I think Face the Raven handles rather better than Dark Water / Death in Heaven.
It’s a rare case where I wished I had read the book first before rewatching the story; I would have got a bit more out of the latter. You can get it here.
