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Book Review: The Three Stigmata of Palmer Eldritch by Philip K. Dick
Summary:
Earth is overcrowded and overheated but people still don’t want to become colonists to other planets. The colonies on the other planets are so boring and depressing that the colonists spend all of their money on Can-D — a drug that lets them imagine themselves living in an idealistic version of Earth. The only trick is they have to set up dioramas of Earth first. The drug is illegal on Earth but the diorama parts are still created by a company there. When the famous Palmer Eldritch returns from the far-flung reaches of space, he brings with him a new drug, Chew-Z, that doesn’t require the dioramas. What the people don’t know, but one of the manager of the Can-D company soon finds out, is that Chew-Z sends those who take it into an alternate illusion controlled by Palmer Eldritch.
Review:
I love Philip K. Dick, and I have since first reading Do Androids Dream of Electric Sheep? So whenever I see his books come up on sale in ebook format, I snatch them up. I picked this up a while ago for this reason, and then randomly selected it as my airplane read on my honeymoon. Like many Dick novels the world of this book is insane, difficult to explain, and yet fun to visit and thought-provoking.
The world Dick has imagined is hilarious, although I’m not sure it was intended to be. Presciently, Dick sets up a future suffering from overpopulation and global warming, given that this was published in 1965, I find it particularly interesting that his mind went to a planet that gets too hot. Even though the planet is unbearably warm (people can only go outside at night and dusk/dawn), they still don’t want to colonize other planets. Colonizing the other planets is just that bad. So there’s a selective service by the UN, only instead of soldiers, those randomly selected are sent to be colonists. The wealthy can generally get out of it by faking mental illness, as the mentally ill can’t be sent away. This particular aspect of the book definitely reflects its era, as the 1960s was when the Vietnam War draft was so controversially going on.
I don’t think it’s going out on much a limb to say that drugs had a heavy influence on this book. Much of the plot centers around two warring drugs, and how altered perceptions of reality impact our real lives. One of the main characters starts out on Earth hearing about how the poor colonists have such a depressing environment that they have to turn to drugs to keep from committing suicide. But when he later is sent to Mars himself as a colonists, his impression is that in fact the colony is this downtrodden because no one tries very hard because they’re so much more focused on getting their next hit of Can-D. The Can-D has caused the lack of success on the planet, not the other way around. Whether or not he is accurate in this impression is left up to the reader.
Then of course there’s the much more major plot revolving around the new drug, Chew-Z. Without giving too much away, people think Chew-Z is a much better alternative to Can-D, but it turns out chewing it puts you under the control of Palmer Eldritch for the duration of your high, and if you overdose, you lose the ability to tell the difference between illusion and reality. The main character (and others who help him) thus must try to convince the humans that Chew-Z is bad for them before they ever even chew it. The main character has another side mission of getting people off of Can-D.
It sounds like a very anti-drugs book when summarized this way, but it felt like much more than that. People chewing Chew-Z can come to have an experience that sounds religious – seeing the three stigmata of Palmer Eldritch (a stigmata in Christian tradition is when God shows his favor on someone by giving them the marks of Jesus’ crucifixion. In this book, the three stigmata are three bodily aspects of Palmer that are unique to him). However, the experience of seeing the stigmata is in fact terrifying, not enlightening. The drugs thus represent more than drugs. They represent the idea that we could possibly know exactly what a higher power is thinking, and perhaps that it might be better to just go along as best we can, guessing, rather than asserting certainty.
All of this said, a few weaknesses of the 1960s are seen. I can’t recall a non-white character off the top of my head. Women characters exist, thank goodness, but they’re all secondary to the male ones, and they are divided pretty clearly into the virgin/whore dichotomy. They are either self-centered, back-stabbing career women, or a demure missionary, or a stay-at-home wife who makes pots and does whatever her husband asks. For the 1960s, this isn’t too bad. Women in the future are at least acknowledged and most of them work, but characterizations like this still do interfere with my ability to be able to 100% enjoy the read. Also, let’s not forget the Nazi-like German scientist conducting experiments he probably shouldn’t. For a book so forward-thinking on things like colonizing Mars and the weather, these remnants of its own time period were a bit disappointing.
Overall, though, this is a complex book that deals with human perception and ability. Are we alone in space? Can we ever really be certain that what we are seeing is in fact reality? How do we live a good life? Is escapism ever justified? Is there a higher power and if there is how can we ever really know what they want from us? A lot of big questions are asked but in the context of a mad-cap, drug-fueled dash around a scifi future full of an overheated planet and downtrodden Mars colonies. It’s fun and thought-provoking in the best way possible.
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4 out of 5 stars
Length: 243 pages – average but on the shorter side
Source: Amazon
Book Review: The Edible Woman by Margaret Atwood (Bottom of the TBR Pile Challenge)
Summary:
It’s the 1960s in Canada, and Marian McAlpin is working writing and analyzing surveys for a marketing research firm. She has a feminist roommate she doesn’t quite understand, and hangs out with the three office virgins for lunch. Her boyfriend is comfortable and familiar. When he proposes to her, the office virgins think she’s hit the jackpot, her roommate questions why she’s following the norm, and her married and very pregnant friend seems hesitant about her fiancee. None of this really bothers Marian, though. What does bother her is that, ever since her engagement, there are more and more things she simply can’t eat. First meat then eggs then even vegetables! She thinks of herself causing them suffering, and she just can’t stomach them. What will happen to her if there’s eventually nothing left for her to eat?
Review:
I’m a fan of a few Margaret Atwood books, and the concept of this book intrigued me. Since I run the Mental Illness Advocacy Reading Challenge, I was also wondering if this might actually be a new take on anorexia. Unfortunately, Marian is not really anorexic, it’s more of an elaborate, overdone metaphor. Perhaps the plot is simply dated, but the interesting concept, when fleshed-out, comes out rather ho-hum.
The novel is divided into three parts, with Marian using first-person narration for the first and third parts, with third person narration taking over for the second. This is meant to demonstrate how Marian is losing herself and not feeling her own identity. It’s an interesting writing device, and one of the things I enjoyed more in the book. It certainly is jarring to suddenly go from first to third person when talking about the main character, and it sets the tone quite well.
It’s impossible to read this book and not feel the 1960s in it. Marian is in a culture where women work but only until marriage, where women attending college is still seen as a waste by some, and where there is a small counter-cultural movement that seems odd to the mainstream characters and feels a bit like a caricature to the modern reader. However, the fact that Marian feels so trapped in her engagement, which could certainly still be the case in the 1960s, doesn’t ring as true, given the people surrounding Marian. Her roommate is counter-cultural, her three office friends claim to want a man but clearly aren’t afraid of aging alone and won’t settle. Her married friend shares household and child rearing with her husband, at least 50/50. It’s hard to empathize with Marian, when it seems that her trap is all of her own making in her own mind. She kind of careens around like aimless, violent, driftwood, refusing to take any agency for herself, her situation, or how she lets her fiancee treat her. It’s all puzzling and difficult to relate to.
The Marian-cannot-eat-plot is definitely not developed as anorexia. Marian at first stops eating certain meats because she empathizes with the animals the meat came from. As a vegetarian, I had trouble seeing this as a real problem and fully understood where Marian was coming from. Eventually, she starts to perceive herself as causing pain when eating a dead plant, bread, etc… The book presents both empathizing with animals and plants as equally pathologic, which is certainly not true. Marian’s affliction actually reminded me a bit of orthorexia nervosa (becoming unhealthily obsessed with healthy eating, source) but the book itself presents eliminating any food from your diet as pathologic. Either Marian eats like everyone else or she is going off the deep-end. There is no moderate in-between.
What the Marian-cannot-eat-plot is actually used for is as a metaphor for how Marian’s fiancee (or her relationship with him) is supposedly consuming her. The more entwined with her fiancee she becomes in society’s eyes, the closer the wedding comes, the less Marian is able to consume, because she herself is being consumed. This would be quite eloquent if Marian’s fiancee or her relationship with him was actually harmful or consuming, but it certainly does not come across that way in what we see of it in the book.
Marian presents herself to her boyfriend then fiancee as a mainstream person, and he treats her that way. He does one thing that’s kind of off-the-rocker (crashes his car into a hedge) but so does she on the same night (runs away in the middle of dinner, across people’s backyards, for no apparent reason and hides under a bed while having drinks with three other people at a friend’s house). The only thing that he does that could possibly be read as a bit cruel is when she dresses up for a party he states that he wishes she would dress that way more often. It’s not a partner’s place to tell the other how they should dress, but it’s also ok to express when you like something your partner is wearing. Personally I thought the fiancee really meant the latter but just struggled with appropriately expressing it, and Marian herself never expresses any wants or desires directly to him on how they interact, what they wear, what they eat, how they decorate, etc…, so how could he possibly know? In addition to never expressing herself to her fiancee, Marian also cheats on him, so how exactly the fiancee ends up the one being demonized in the conclusion of the book is a bit beyond me. He’s bad because he wanted to marry her? Okay…… The whole thing reads as a bit heavy-handed second-wave feminism to me, honestly. Marriage seems to be presented in the book as something that consumes women, no matter if they choose it or are forced into it by society. It is not presented as a valid choice if a woman is able, within her society and culture, to make her own choices.
In spite of these plot and character issues, the book is still an engaging read with an interesting writing style. I was caught up in the story, even if I didn’t really like the ideas within it.
Overall, this is a well-written book with some interesting narrative voice choices that did not age well. It is definitely a work of the 1960s with some second-wave feminism ideas that might not sit well with modern readers. Recommended to those interested in in a literary take on second-wave feminism’s perception of marriage.
3 out of 5 stars
Source: Better World Books
Movie Review: Night of the Living Dead (1968)
Summary:
Dead bodies start inexplicably returning to life. The horde slowly bears down on an old farmhouse full of a random group of survivors. The night wears on, and eventually only one person is left.
Review:
George Romero’s classic is essentially what jump-started the cult fascination with zombies. It established a lot of the unofficial rules for zombies–you have to destroy their brain to destroy them, they’re slow moving, etc… I guess its status as a zombie classic left me with certain expectations. Some were met; others were not.
It is filmed in black and white and makes excellent use of shadows. The soundtrack is exactly what is to be expected from an old horror movie, and honestly some modern horror movies could learn a thing or two from it. The collection of a bunch of strangers in one house to fight off the hoarde is now considered to be a trope, but it was interesting to see the collection of characters assembled by George Romero. There’s the terrified woman, the cowardly man, the brave intelligent man, the brave man who’s a follower, and the person who’s been bitten. The decade certainly shows in the characterization as none of the women are the kick-ass female character we’ve come to expect in modern times. That was a bit disappointing.
I was completely shocked to see that the role of the last survivor went to a black actor. This was incredibly progressive for the 1960s, and he was truly there as a man who just happened to be black, not the requisite black guy. It was refreshing and pleasant to see, particularly in such an old movie. ‘The zombies though, just didn’t look like zombies. They were rather gaunt, but none of the decay or general zombie-look we’re used to in modern movies was present. Also, when they say slow-moving, they mean slow-moving. I’m pretty sure the actors were mostly moving in place for a lot of the shots. That was a bit too slow-moving for my taste. Another interesting factoid, the word “zombie” is never used once in the movie. The dead. The living dead. The arisen dead. But not zombie.
By far the most frightening scene and one that is repeated in zombie movies to this day is when the arms reach through the boarded windows at the people inside attempting to hold the boards on. The clawing hands and moans of the undead sent shivers down my spine. The movie is worth viewing for that scene alone.
Overall, viewing this classic it is understandable why it came to be one. Although certain aspects of zombies have been improved upon with time, the ground-work is evident here. I highly recommend this film to any fans of the horror genre or those interested in the presence of 1960s culture and mores in film.
4 out of 5 stars
Source: Netflix
Movie Review: Under the Yum Yum Tree (1963)
Summary:
Robin is a sensible college student who firmly believes a successful marriage is about the science, not the emotions. She convinces her boyfriend David, who just wants to get married already, that they should live together without sleeping together first to see if they are emotionally compatible. Her aunt is not only her college professor, but also a recent divorcee, and Robin and David move into her old apartment. Unbeknownst to them, Aunt Irene moved out due to a messy break-up with the lecherous landlord, Hogan, who lives across the hall. Hogan is determined to craftily break up the couple so he can sleep with Robin himself, and David and Robin struggle to determine the right way to have a modern relationship.
Review:
Some in the modern audience would find the entire concept of this movie too laughable to be viewable, but if you’re aware of the situation of the sexes in the late 1950s and early 1960s, it was actually quite a progressive movie for the time period. Divorce is acknowledged via Robin’s aunt, Irene, and she is not demonized as a slimy divorcee. She is a woman who has learned that relationships are not always simple, but also what is important to bring to them. In fact, she gives the climactic speech of the film about relationships. Then there’s the fact that Robin’s and David’s sexual feelings are acknowledge, and David even questions how much it would actually hurt their future together if they were to sleep together before getting married. Robin worries that young people are rushing into marriages due to “glandular urges.” These are quite sensible concerns voiced in a climate in which “proper” people did not engage in premarital sexual relationships, and the characters’ feelings are actually highly relatable.
Of course, the film is not entirely a serious one. It address what was then a modern concern under the guise of slapstick. It also utilizes one of my favorite comedy techniques wherein one room has multiple doors and windows, and the characters come and go either just missing each other or only briefly encountering each other. One particularly delightful scene features a drunk Robin reciting e. e. cummings in an attempt to seduce David. If any of these types of humor are favorites of yours, you will find yourself laughing at this movie.
I should also mention that this film features Jack Lemmon in an early role, as well as Dean Jones, who frequently does push-ups. Talk about your old-time eye candy. It also has an opening sequence, used frequently in 1960s movies, wherein a young lady and man dance around to a song written for the film together. It’s cute and really sets the tone for the movie.
Also, cat lovers should be aware that there is a cat in this movie who plays a rather important role both to the plot and the slapstick humor. I love how older movies insert cats into the storylines in a way in which modern films just don’t anymore. Cats weren’t the props to crazy cat lady jokes. They were part of the story.
If you enjoy old movies, the questioning of society’s sexual mores, or slapstick humor, you will definitely enjoy this film.
4 out of 5 stars
Source: Netflix
Movie Review: Rosemary’s Baby (1968)
I love horror films, and I’d been meaning to watch this classic for quite some time. Netflix is so good for making you finally get around to seeing movies you’ve always meant to see.
Summary:
Rosemary and her actor husband move into a new apartment despite protestations from a friend that the building has a bit of a history of odd things happening. Their new neighbors are a friendly, elderly couple. In fact, Rosemary finds them to be a bit too friendly, but her husband likes them and insists the friendship be kept up. Soon Rosemary is pregnant, but there is something odd about her pregnancy she can’t quite put her finger on until it is too late.
Review:
This is the type of horror story I love. Something sinister lurking in the background of the main character’s life. Everyone around her telling her she’s the crazy one or that she’s paranoid with only the main character and the viewer seeing what’s really going on. This gives such a different scared vibe than the more typical, oh we’re in a scary hotel room for one night ahhh.
The cinematography has that classic 1960s feel that I personally love. Maybe there’s a technical term for it, I don’t know, but it’s that awkward shot. Instead of every shot being perfectly clean cut like in modern films, the actors aren’t always in center and focused. People are off to the side. It gives almost a mockumentary film feeling without any of those staged interviews.
Mia Farrow’s acting is truly excellent. Her facial expressions show the wheels turning in her head even when other characters are in the room with Rosemary. You can see how Rosemary senses something is wrong, yet she isn’t sure what exactly.
Ruth Gordon, playing the elderly neighbor woman, also offers up an excellent acting job. She plays to perfection that horribly annoying elderly woman who everyone else finds delightful but you just want to stop touching your throw pillows. It may seem like an easy part to play, but it is a fine line to walk, and she executes it perfectly.
I think what kept me from loving the movie as opposed to just really liking it were the odd dream sequences. These too have a classic 1960s feel, but not in a good way. They feel fake, and jerked me out of the world I had been sucked into. I think most of the dream sequences could have been done without.
There is no way to discuss the social commentary this movie makes without giving away a massive spoiler, so let me just say that women’s agency is central to the plot of this film and is one of the main reasons I liked it.
If you enjoy horror, 1960s cinematography, or subtle social commentary, you will enjoy this film.
4 out of 5 stars
Source: Netflix
Book Review: Setting Free the Bears By John Irving
Summary:
John Irving is an American writer best-known for The World According to Garp and A Prayer for Owen Meany. Setting Free the Bears is his first novel and is set in Europe as opposed to New England. Hannes Gaff has failed his exam at university in Vienna. Distressed he goes to a motorcycle shop where he meets Siegfried Javotnik. Siggy convinces Gaff to buy a motorcycle together to adventure across Europe. Their adventure takes a side-turn though when Siggy becomes obsessed with letting loose the zoo animals in Vienna and Gaff becomes obsessed with a girl named Gallen.
Review:
Irving utilizes a storytelling technique I’ve always particularly enjoyed–a character finding a notebook and the character and reader reading that notebook together. Here Siggy’s voice is bookended by Gaff’s. I had a difficult time getting into the book and was frustrated with it at the end. It wasn’t until reflection that I realized I enjoyed Siggy’s story, but not Gaff’s.
Siggy is an excellent character. Through his notebook we see how his parents’ unconventional meeting and marriage as a result of uncontrollable war circumstances has made him the slightly crazy person he is today. Personally I think he is just misunderstood, which is why I had issues with Gaff worrying about going crazy like Siggy. Siggy isn’t crazy; he’s just unconventional.
Gaff, on the other hand, is not a well-rounded character. He is someone who I don’t understand and couldn’t relate to. Although his crush on Gallen is the catalyst for a key plot point, I actually felt that he had infinitely more feelings for Siggy. There’s nothing wrong with that, but it did make some plot points feel forced.
Overall, this is a typical 1960s generation book. Siggy and Gaff feel like the middle lost generation. Their parents were defined by the war, but they are defined by nothing. All that matters about their lives is their pre-histories–how their parents met and were impacted by the war. They are left meandering through history on a motorcycle attempting to figure out exactly how things turned out this way from the few clues the war-time people will let them have. Those who enjoy this theme of the 1960s will enjoy this book. Others who enjoy Irving’s writing style would be better off reading The World According to Garp.
3 out of 5 stars
Source: Library