Out in all good DVD shops now is the 1971 Doctor Who story The Mutants, which features another documentary by me and the brother. Here is a clip because you are good:
It's also been announced that I've written another adventure for the Second Doctor Who, The Memory Cheats, starring Wendy Padbury as Doctor Who's friend Zoe.
And I've written an episode of the new series of Dark Shadows, based on the spooky US TV show. My story, The Creeping Fog, is out in June.
Monday, January 31, 2011
Sunday, January 30, 2011
William Herschel's telescope
Space school today was on identifying constellations, and I've drawn spidery diagrams of such things as Boote, Canis Major and the the big and little bears.
Since I was at the Royal Observatory, I also took advantage of the sunshine to snap some pics of William Herschel's 40-foot telescope, which I mentioned in my recent post on the origins of the Big Bang theory.
The caption in front of the telescope says:
Last year, I also posted about another telescope in London, the Monument.
Since I was at the Royal Observatory, I also took advantage of the sunshine to snap some pics of William Herschel's 40-foot telescope, which I mentioned in my recent post on the origins of the Big Bang theory.
The caption in front of the telescope says:"This is the remaining section of a 40-foot (12m) reflecting telescope, built for the astronomer William Herschel, who became famous for his discovery of the planet Uranus in 1781.NB you might want to do that before 8 March 2011, while it's still free.
The telescope was the largest in the world and cost over £4000, paid for by King George III. Completed in 1789 and erected at Herschel's home near Slough, about 30 miles (45km) west of Greenwich, it soon became a tourist attraction. Some people likened it to the Colossus of Rhodes, and it was even marked on the 1830 Ordnance Survey map of the area.
Sadly, the Herschels did not use the great telescope for much serious astronomy since it was difficult to set up and maintain. William's son had it dismantled in 1840. Most of the tube was destroyed when a tree fell on it 30 years later.
You can find out more about William Herschel's work in the Weller Astronomy Galleries in the Astronomy Centre on this site."
Last year, I also posted about another telescope in London, the Monument.
Saturday, January 29, 2011
Do not read this book
Another old review for Vortex, this one from January 2010.
The Sad Tale of the Brothers Grossbart, by Jesse Bullington
Hegel and Manfried Grossbart cross 14th Century Europe robbing and killing and generally pissing off anything that comes in their way. In the first few pages they butcher the wife and family of a yeoman turnip-grower called Heinrich in front of him. Heinrich's friends – and Heinrich himself – are soon in pursuit, so Hegel and Manfried think they'll head for Egypt, which has tombs they can plunder.
That's just the start of Hegel and Manfried's problems. There are monsters and witches around every corner and the plague is tearing through whole towns. Every few pages there seems to be someone to stab or maim or steal from.
I'm not really the audience for this book; I'm bored by gory horror movies and gangster memoirs about who they killed and how much they loved their mums. But there's really not a lot to like about this book. The two leads are vicious, mean and stupid, with little interest in the things they encounter on their journey.
This is a problem, since its chiefly through their eyes that we see the world. In the 100-page sequence set in Venice, there are a couple of mentions of bridges but little else to describe one of the most distinctive cities in the world. There are occasional glimpses of the setting – the Pope is Avignon, the Venetians have sacked Constantinople – but there's little interaction or insight. The bibliography cites more than four pages of books which helped in “realistically rendering the historical world”, but the Grossbarts don't care to learn anything from their adventure and remain unchanged by all that befalls them. They're in this for the violence.
It's not just the two leads – there's not a sympathetic soul in the whole story. Everyone is greedy, vain and stupid. Perhaps it's an accurate portrait of a nasty, brutish age, but it makes for a wearisome read. It's a very violent book, peppered with long descriptions of things being gouged and broken. There's a lot of vomit, too, and the one sex scene (p. 63) is a lesson in grotesque, over-written misogyny:
There are some well-realised, exciting moments – as when they burn house down round a demon – and some attempt at humour as the Grossbarts discuss religious doctrine. But I struggled to care about the brothers or their story. The book ends with them hoist by their own petard, trapped inside the tomb they've come so far to rob. I spoil this for you now so you won't waste your time on the worst book I've read in years.
The Sad Tale of the Brothers Grossbart, by Jesse Bullington
Hegel and Manfried Grossbart cross 14th Century Europe robbing and killing and generally pissing off anything that comes in their way. In the first few pages they butcher the wife and family of a yeoman turnip-grower called Heinrich in front of him. Heinrich's friends – and Heinrich himself – are soon in pursuit, so Hegel and Manfried think they'll head for Egypt, which has tombs they can plunder.
That's just the start of Hegel and Manfried's problems. There are monsters and witches around every corner and the plague is tearing through whole towns. Every few pages there seems to be someone to stab or maim or steal from.
I'm not really the audience for this book; I'm bored by gory horror movies and gangster memoirs about who they killed and how much they loved their mums. But there's really not a lot to like about this book. The two leads are vicious, mean and stupid, with little interest in the things they encounter on their journey.
This is a problem, since its chiefly through their eyes that we see the world. In the 100-page sequence set in Venice, there are a couple of mentions of bridges but little else to describe one of the most distinctive cities in the world. There are occasional glimpses of the setting – the Pope is Avignon, the Venetians have sacked Constantinople – but there's little interaction or insight. The bibliography cites more than four pages of books which helped in “realistically rendering the historical world”, but the Grossbarts don't care to learn anything from their adventure and remain unchanged by all that befalls them. They're in this for the violence.
It's not just the two leads – there's not a sympathetic soul in the whole story. Everyone is greedy, vain and stupid. Perhaps it's an accurate portrait of a nasty, brutish age, but it makes for a wearisome read. It's a very violent book, peppered with long descriptions of things being gouged and broken. There's a lot of vomit, too, and the one sex scene (p. 63) is a lesson in grotesque, over-written misogyny:
“Withered breasts swaying pendulously, her tongue flicked over her few teeth and severed their drool-bond. He shrivelled even as he came inside her cold clamminess, screaming in terror at the realization he had been bewitched and wrenching away from her headfirst into the tipped table. He blacked out and vomited simultaneously, her cruel laughter following him into nightmares that stood no chance of besting his first sexual encounter.”The witch – and manticore, mermaid and demons – allow ever more disgusting abuses of people's bodies, though the constant bludgeoning has only a dulling effect on the reader. The prose style doesn't help, every clause crammed with adjectives. On page 283, a section jumps between different characters in different rooms without any hint to the reader what and who is where.
There are some well-realised, exciting moments – as when they burn house down round a demon – and some attempt at humour as the Grossbarts discuss religious doctrine. But I struggled to care about the brothers or their story. The book ends with them hoist by their own petard, trapped inside the tomb they've come so far to rob. I spoil this for you now so you won't waste your time on the worst book I've read in years.
Friday, January 28, 2011
Big Bang theory
"Your maths is correct, but your physics is abominable," said Albert Einstein (in French) of a 1927 paper by a Catholic priest.
Abbe Georges Lemaitre, from a small university in Belgium, had published 'A homogeneous universe of constant mass and growing radius accounting for the radial velocity of extragalactic nebulae' in the Annales de la Societe Scientifique de Bruxelles. Lemaitre - who had previously worked with Arthur Eddington at Cambridge and then Harlow Shapley at Cambridge, Massachussets - proposed the idea of an expanding universe. At the time, Einstein and physicists generally believed in a "finite, closed and static" universe, a "cosmological constant" - despite the fact that his own theory of relativity suggested otherwise.
But Lemaitre,
And yet, the idea had been proposed 150 years previously. Brian Aldiss and David Wingrove's Trillion Year Spree refers to a footnote in Erasmus Darwin's 1791 verse discussion, The Economy of Vegetation.
The footnote explains Darwin's response to William Herschel's own "sublime and curious" ideas about the construction of the heavens. Herschel had discovered 1,000s of star clusters (and the planet Uranus) with his telescope. (You can see Herschel's 40-foot telescope at the Royal Observatory in Greenwich and visit his house in Bath.)
According to Darwin, Herschel had observed that there were proportionately fewer stars around the clusters, and concluded that infinite space had first been evenly sprinkled with stars but that, through gravity, they had "coagulated" together. Herschel also observed that the stars were moving round some central axis (that is, that the Milky Galaxy is slowly turning), and concluded that they must "have emerged or been projected from the material, where they were produced."
Aldiss and Wingrove call Erasmus Darwin "as a part-time science-fiction writer", though I think they rather overplay the case for his,
Abbe Georges Lemaitre, from a small university in Belgium, had published 'A homogeneous universe of constant mass and growing radius accounting for the radial velocity of extragalactic nebulae' in the Annales de la Societe Scientifique de Bruxelles. Lemaitre - who had previously worked with Arthur Eddington at Cambridge and then Harlow Shapley at Cambridge, Massachussets - proposed the idea of an expanding universe. At the time, Einstein and physicists generally believed in a "finite, closed and static" universe, a "cosmological constant" - despite the fact that his own theory of relativity suggested otherwise.
But Lemaitre,
"derived the relation for an expanding universe to be between the speed of a galaxy receding from an observer and its distance from the observer. Lemaitre also provided the first observational estimate of the slope of the speed-distance curve that later became known as Hubble's law when the American astronomer Edwin Hubble reported his initial observations on galaxies in 1929. These two important properties of the universe were proposed two years before the measurements that would begin a new era in astrophysical cosmology."When Hubble published his observations, Lemaitre sent his own paper to Eddington and Einstein quickly confirmed that his theory "fits well into the general theory of relativity". There were still lots of questions to be asked about what drove the expansion, and several notable physicists were still skeptical (the "Big Bang" was initially a term of contempt for the idea), but Lemaitre has been called "the father of the Big Bang".JP McEvoy, The Universe - From Ancient Babylon to the Big Bang, pp. 190-1.
And yet, the idea had been proposed 150 years previously. Brian Aldiss and David Wingrove's Trillion Year Spree refers to a footnote in Erasmus Darwin's 1791 verse discussion, The Economy of Vegetation.
The footnote explains Darwin's response to William Herschel's own "sublime and curious" ideas about the construction of the heavens. Herschel had discovered 1,000s of star clusters (and the planet Uranus) with his telescope. (You can see Herschel's 40-foot telescope at the Royal Observatory in Greenwich and visit his house in Bath.)
According to Darwin, Herschel had observed that there were proportionately fewer stars around the clusters, and concluded that infinite space had first been evenly sprinkled with stars but that, through gravity, they had "coagulated" together. Herschel also observed that the stars were moving round some central axis (that is, that the Milky Galaxy is slowly turning), and concluded that they must "have emerged or been projected from the material, where they were produced."
"It may be objected, that if the stars have been projected from a Chaos by explosions, that they must have returned again into it from the known laws of gravitation; this however, would not happen, if the whole of Chaos, like grains of gunpowder, was exploded at the same time, and dispersed through infinite space at once, or in quick succession, in every possible direction."I didn't know much about Erasmus Darwin (1731-1802) until reading Trillion Year Spree, whose authors - taking their lead from Desmond King-Hele's The Essential Writings of Erasmus Darwin (1968) - devote three and a half pages to him. Hele, they say "lists seventy-five subjects in which he was a pioneer".Erasmus Darwin, footnote to Canto I, line 105 of The Economy of Vegetation (1791)
"Many inventions stand to Erasmus Darwin's credit, such as new types of carriages and coal carts, a speaking machine, a mechanical ferry, rotary pumps, and horizontal windmills. He also seems to have invented - or at least proposed - a rocket motor powered by hydrogen and oxygen. His rough sketch shows the two gases stored in separate compartments and fed into a cylindrical combustion chamber with exit nozzle at one end - a good approximation of the workings of a modern rocket, and formulated long before the ideas of the Russian rocket pioneer Tsiolkovsky were set to paper."Darwin's long poems with their awkward rhymes might often seem "daft" to us now (though Aldiss and Wingrove cite some of his deft lines), and his reputation was damaged by parodies in his own time.Brian Aldiss with David Wingrove, Trillion Year Spree, p. 35.
"Parodies of his verse in George Canning's Anti-Jacobin, entitled The Loves of the Triangles, mocked Darwin's ideas, laughing at his bold imaginative strokes. That electricity could ever have widespread practical application, that mankind could have evolved from lowly life forms, that the hills could be older than the Bible claimed - those were the sorts of madnesses which set readers of the Anti-Jacobin tittering. Canning recognized the subversive element in Darwin's thought and effectively brought low his reputation."He was also eclipsed by his grandson Charles, though Erasmus's Zoonomia, published in two volumes in 1794 and 96,Ibid., p. 36.
"explains the systems of sexual selection, with emphasis on promiscuity, the search for food, and the need for protection in living things, and how these factors, interweaving with natural habitats, control the diversity of life in all its changing forms."Erasmus acknowledged that these "evolutionary processes need time as well as space" and "emphasizes the the great age of the Earth", contradicting the "then-accepted view" of Bishop Ussher's that the Earth was created in 4004 BC. (Aldiss and Wingrove admit that "the Scot, James Hutton, had declared in 1785, thrillingly, that the geological record revealed 'no vestige of a beginning, no prospect of an end'.")Ibid., p. 36.
Aldiss and Wingrove call Erasmus Darwin "as a part-time science-fiction writer", though I think they rather overplay the case for his,
"prophesysing with remarkable accuracy many features of modern life - gigantic skyscraper cities, piper water, the age of the automobile, overpopulation, and fleets of nuclear submarines".But perhaps Darwin has a part to play in sci-fi. The authors nominate Mary Shelley's Frankenstein as the first work of science-fiction, a book that Shelley herself claimed to be the result of a nightmare in 1816, following,Ibid., p. 37.
"late night conversations with Shelley, Lord Byron and John Polidori, Byron's Doctor. Their talk was of vampires and the supernatural. Polidori supplied the company with some suitable reading material; Byron and Shelley also discussed Darwin, his thought and experiments. At Byron's suggestion, the four of them set about writing a ghost story apiece."I find this all fascinating and have been meaning to write it all up for months. Note to self to investigate Darwin further. I also see you can visit Erasmus Darwin's House in Staffordshire.Ibid., p. 53.
Thursday, January 27, 2011
Old reviews: Johannes Cabal - the Necromancer
Here's a book review of Johannes Cabal - the Necromancer by Jonathan L Howard, which I wrote for Vector in the summer of 2009 and never got round to posting here:
Johannes Cabal has made a deal with the devil. He's already sold his soul; the deal is to win it back. Cabal has one year to claim 100 other souls, and Satan's even going to throw in the means with which to claim them. Soon Cabal is in charge of a travelling carnival, with something to tempt every punter.
But Cabal has obstacles in his way: rival villains and wizards, concerned local residents and his own vampiric brother. And he can only use his dark powers sparingly; they're linked to a ball of black blood down in Hell that shrinks every time he performs a spell.
There's all the makings of a rich and lively adventure here, but sadly it never quite works. The ball of black blood, for example, is forgotten as soon as it's introduced. Rather than curbing Cabal's efforts, he seems to do just what he likes.
Nor the year's deadline feel much of a ticking clock. Cabal sets up his carnival, claims his first victims and makes excuses for a few more. The middle chapters are unconnected episodes: Cabal getting caught in a hell dimension, or the carnival as seen by a small boy. Then, without much sense of time passing, or how the carnival and its staff have developed, we skip to the end and a race for the last two victims. There's no sense of time passing, of the seasons changing, of the strain Cabal is under. In fact, while he may get a bit cross when inconvenienced, there's little sense that events really affect him.
Cabal's brother, Horst, acts as his conscience. The vampire struggling to go without blood is not a hugely original idea. There's no new spin on the character here. Horst chides Cabal and helps save a few worthy souls, but is powerless to sway his brother. The later stages of the book would have worked better had Horst had more influence, or suggested Cabal is more conflicted than he lets on.
As it is, we don't feel any great pressure on Cabal. And to be honest, until the last couple of pages we're given little reason to root for him, either. He's pompous, arched and sarcastic without ever quite straying into wit. That in itself is a major problem for what's meant to be a darkly comic novel. It simply isn't all that funny, dramatic or original.
The denouement hangs on whether Cabal will claim the souls of two poor, innocent women to meet his deadline. But with almost no indication of his having any scruples, this hardly works as a crisis of character.
And yet the last two pages reveal why Cabal sold his soul in the first place, and why to reclaim it again he's gone to such effort and given up so much. There's the first hint of a much more complex, conflicted and interesting character there. One who may well support a continuing series.
Johannes Cabal has made a deal with the devil. He's already sold his soul; the deal is to win it back. Cabal has one year to claim 100 other souls, and Satan's even going to throw in the means with which to claim them. Soon Cabal is in charge of a travelling carnival, with something to tempt every punter.
But Cabal has obstacles in his way: rival villains and wizards, concerned local residents and his own vampiric brother. And he can only use his dark powers sparingly; they're linked to a ball of black blood down in Hell that shrinks every time he performs a spell.
There's all the makings of a rich and lively adventure here, but sadly it never quite works. The ball of black blood, for example, is forgotten as soon as it's introduced. Rather than curbing Cabal's efforts, he seems to do just what he likes.
Nor the year's deadline feel much of a ticking clock. Cabal sets up his carnival, claims his first victims and makes excuses for a few more. The middle chapters are unconnected episodes: Cabal getting caught in a hell dimension, or the carnival as seen by a small boy. Then, without much sense of time passing, or how the carnival and its staff have developed, we skip to the end and a race for the last two victims. There's no sense of time passing, of the seasons changing, of the strain Cabal is under. In fact, while he may get a bit cross when inconvenienced, there's little sense that events really affect him.
Cabal's brother, Horst, acts as his conscience. The vampire struggling to go without blood is not a hugely original idea. There's no new spin on the character here. Horst chides Cabal and helps save a few worthy souls, but is powerless to sway his brother. The later stages of the book would have worked better had Horst had more influence, or suggested Cabal is more conflicted than he lets on.
As it is, we don't feel any great pressure on Cabal. And to be honest, until the last couple of pages we're given little reason to root for him, either. He's pompous, arched and sarcastic without ever quite straying into wit. That in itself is a major problem for what's meant to be a darkly comic novel. It simply isn't all that funny, dramatic or original.
The denouement hangs on whether Cabal will claim the souls of two poor, innocent women to meet his deadline. But with almost no indication of his having any scruples, this hardly works as a crisis of character.
And yet the last two pages reveal why Cabal sold his soul in the first place, and why to reclaim it again he's gone to such effort and given up so much. There's the first hint of a much more complex, conflicted and interesting character there. One who may well support a continuing series.
Wednesday, January 26, 2011
Salonica
Spent a long weekend in Thessaloniki (also known as Salonica) in northern Greece with the Dr and my parents. Traipsed through a fair few museums and old churches and ate a lot of nice food.
I managed the first 200 pages of Mark Mazower's Salonica, which is brilliantly rich and well researched but a bit heavy for holiday reading. He charts the complex, multi-ethnic history of the city under Ottoman rule, comparing the different customs, manners and superstitions:
Sadly, a lot of the main museum was closed while we were there, but what we did mooch round was beautifully displayed and interpreted. The Dr especially liked seeing a Roman-period dining table recreated 'live' from a contemporary illustration and using real artefacts.
The Museum of Byzantine Culture was free and quick to look round, with some nicely displayed bits of fresco. We tried several attempts to get into the open-air Roman forum, but always managed to find it closed so took pictures from the edges.
On our second full day, the Dr expertly guided us out by bus to the bus station (always well out of town in Greek cities), and thence onto a bus to Vergina and the tumulus tomb where Alexander the Great buried his dad, Phillip II. It took a bit of wandering through the drizzle to find, and then it didn't look much - a bit of grassy hillock.
But inside was something else entirely: the most amazing museum of all the spectacular riches discovered in the tombs, right next to the tomb doorways in situ. The low-light only enhanced the splendor of the gold, but it was the simple, practical and perfectly preserved cups and pots that impressed - it was hard to believe they were 250 let alone 2,500 years old.
The haul included organic relics - so rare in archaeology of this age. There was a purple cloth with gold thread design, carvings in wood and ivory.
The tomb doorway showed a rare example of ancient Greek fresco painting, showing a hunting scene. On the tops of the doors were still vivid, bright highlights of orange and blue - again, a small detail that makes this ancient, strange civilisation so tangible.
If there was one slight off note, it was the insistence of some of the labels to explain that the finds showed that this ancient civilisation was characteristially Greek - a political claim as much to do with Macedonia's recent history as the past. The god-king buried here in such finery would have sat uncomfortably with the hellenic Spartans and Athenians - who so famously managed without monarchy. It was telling, not showing, forcing an opinion rather than letting us interpret the facts.
But otherwise, it was an extraordinary place and we dawdled round at the end, not really wanting to leave. (It was also all a bit The Daemons - an iconic image of Alexander even showed him with horns.)
The next day we tried Pella, Phillip's capital city and the birthplace of Alexander. This time, our bus efforts were less successful. First we ended up in Giannitsa because our bus driver forgot to drop us off in the right place, despite the Dr asking him specifically beforehand and his nodding as she pointed at the word 'Pella' on our ticket. In Giannitsa he only shook his head - we should have called out to stop the bus when we wanted to get off, what with our psychic knowledge of Macedonia having not visited before, and ignoring the fact that (as we discovered on the bus back again) that he'd not taken the Pella road in the first place.
And we'd been watching very carefully, too - because all along the route there were impressive tumulus tombs in the otherwise flat plains of farmland, all of them cool and alluring, and none of them labelled in big letters so you could identify them from the road.
The bus back deposited us in the pouring rain at a lowly bus stop with a big sign declaring 'Pella' and a map of where things might be.
This solitary map was some way out of town, so we schlepped up through the lashing rain away from it and wandered round and round the town, stopping to take photos of our sodden holiday at the ankles of a big statue of Alexander.
At last, we discovered the new Archaeological Museums of Pella on the outskirts. A large sign outside explained the vast sum spent by the EU on the impressive new building - so new its website is still under construction, though the place has been open since 2009. It seemed a lot of money for a place that had made it so hard to get to, and the small, narrow car park didn't exactly suggest it sees much traffic from cars and coaches. There were more staff than visitors, who followed us round like wardens, telling us we were allowed to take photos without a flash, and then telling us off if we did so.
Again, the actual artefacts were very impressive - some huge and well-preserved mosaics with lots of willy on show, all sorts of domestic and funerary bits and pieces that gave a glimpse of real people's lives. Photographs showed us just how far the archaeological site extended - the outline of a vast city still there because, after it was destroyed in an earthquake, the locals rebuilt their town further along the hill.
Again, the labels insisted that the dialects in the writing and the artistic styles linked these objects entirely and unquestionably to hellenic traditions, so that (the implication was ladled on) 2,500 years later Macedonia can't be anything other than Greek. I think you could probably make the same case for anywhere else Alexander conquered - Egypt, Iran or India.
There was no shop to buy books or postcards, and we could not visit any part of the huge archaeological site - which the old museum had been right in the heart of. It all felt a bit cold and unwelcoming for such a new and expensive place. We tramped back to the bus stop and sulked until a bus came.
Though it sometimes lacked in presentation, don't get me wrong: the sites and artefacts are amazing and it was mostly a great joy to plod about looking at stuff. The churches were all very welcoming, and often contained beautiful frescos. I felt a bit awkward being welcomed inside to look round during the middle of a service. Even when things were quiet, you feel a bit intrusive stood there gawping while devout local people slink to kiss the icons.
There were fun bits of Mediterranea, too, the little differences that remind you you're abroad. D gleefully ignored the no smoking signs in restaurants (one old chap in one restuarant at least made an effort to hide his fag below the edge of the table). The crossword and puzzle books on sale at all the kiosks had bikinied lovelies on their covers - what with that correlation between glamour* and wordsearches.
(* - that is, soft porn but with clothes on.)
The Greek alphabet also kept me childishly amused:
& Toot! - and with a cone of meat. And this logo for telecommunications was everywhere:
But the chief highlight was seeing the Dr relax, grinning round the museums and churches, not thinking about all the stressy house-buying stuff and, er, throwing herself into some shameless cat-adultery...
I managed the first 200 pages of Mark Mazower's Salonica, which is brilliantly rich and well researched but a bit heavy for holiday reading. He charts the complex, multi-ethnic history of the city under Ottoman rule, comparing the different customs, manners and superstitions:
"Holy water helped Christians, Bulgarians were fond of salt; others used the heads of small, salted fish mixed in water, while everyone believed in the power of spitting in the face of a pretty child."He also speaks of the power of pentagrams to Muslims, "for keeping babies in good health", and on the next page,Mark Mazower, Salonica - City of Ghosts, p. 85.
"Against the fear of infertility, ill health, envy or bad luck, the barriers between faiths quickly crumbled."The Dr's chief interest was the classical history. The Archaeological Museum has a new digitisation project, Macedonia: From Fragment to Pixels, and we had fun spotting Gods in an interactive wordsearch and making information pop up on maps. We were also wowed by the Myrtis exhibition, where different scientific methods help bring back to life a small girl who died in the 5th century BC.Ibid., p. 86.
Sadly, a lot of the main museum was closed while we were there, but what we did mooch round was beautifully displayed and interpreted. The Dr especially liked seeing a Roman-period dining table recreated 'live' from a contemporary illustration and using real artefacts.
The Museum of Byzantine Culture was free and quick to look round, with some nicely displayed bits of fresco. We tried several attempts to get into the open-air Roman forum, but always managed to find it closed so took pictures from the edges.
On our second full day, the Dr expertly guided us out by bus to the bus station (always well out of town in Greek cities), and thence onto a bus to Vergina and the tumulus tomb where Alexander the Great buried his dad, Phillip II. It took a bit of wandering through the drizzle to find, and then it didn't look much - a bit of grassy hillock.
But inside was something else entirely: the most amazing museum of all the spectacular riches discovered in the tombs, right next to the tomb doorways in situ. The low-light only enhanced the splendor of the gold, but it was the simple, practical and perfectly preserved cups and pots that impressed - it was hard to believe they were 250 let alone 2,500 years old.
The haul included organic relics - so rare in archaeology of this age. There was a purple cloth with gold thread design, carvings in wood and ivory.
The tomb doorway showed a rare example of ancient Greek fresco painting, showing a hunting scene. On the tops of the doors were still vivid, bright highlights of orange and blue - again, a small detail that makes this ancient, strange civilisation so tangible.
If there was one slight off note, it was the insistence of some of the labels to explain that the finds showed that this ancient civilisation was characteristially Greek - a political claim as much to do with Macedonia's recent history as the past. The god-king buried here in such finery would have sat uncomfortably with the hellenic Spartans and Athenians - who so famously managed without monarchy. It was telling, not showing, forcing an opinion rather than letting us interpret the facts.
But otherwise, it was an extraordinary place and we dawdled round at the end, not really wanting to leave. (It was also all a bit The Daemons - an iconic image of Alexander even showed him with horns.)
The next day we tried Pella, Phillip's capital city and the birthplace of Alexander. This time, our bus efforts were less successful. First we ended up in Giannitsa because our bus driver forgot to drop us off in the right place, despite the Dr asking him specifically beforehand and his nodding as she pointed at the word 'Pella' on our ticket. In Giannitsa he only shook his head - we should have called out to stop the bus when we wanted to get off, what with our psychic knowledge of Macedonia having not visited before, and ignoring the fact that (as we discovered on the bus back again) that he'd not taken the Pella road in the first place.
And we'd been watching very carefully, too - because all along the route there were impressive tumulus tombs in the otherwise flat plains of farmland, all of them cool and alluring, and none of them labelled in big letters so you could identify them from the road.
The bus back deposited us in the pouring rain at a lowly bus stop with a big sign declaring 'Pella' and a map of where things might be.
This solitary map was some way out of town, so we schlepped up through the lashing rain away from it and wandered round and round the town, stopping to take photos of our sodden holiday at the ankles of a big statue of Alexander.
At last, we discovered the new Archaeological Museums of Pella on the outskirts. A large sign outside explained the vast sum spent by the EU on the impressive new building - so new its website is still under construction, though the place has been open since 2009. It seemed a lot of money for a place that had made it so hard to get to, and the small, narrow car park didn't exactly suggest it sees much traffic from cars and coaches. There were more staff than visitors, who followed us round like wardens, telling us we were allowed to take photos without a flash, and then telling us off if we did so.
Again, the actual artefacts were very impressive - some huge and well-preserved mosaics with lots of willy on show, all sorts of domestic and funerary bits and pieces that gave a glimpse of real people's lives. Photographs showed us just how far the archaeological site extended - the outline of a vast city still there because, after it was destroyed in an earthquake, the locals rebuilt their town further along the hill.
Again, the labels insisted that the dialects in the writing and the artistic styles linked these objects entirely and unquestionably to hellenic traditions, so that (the implication was ladled on) 2,500 years later Macedonia can't be anything other than Greek. I think you could probably make the same case for anywhere else Alexander conquered - Egypt, Iran or India.
There was no shop to buy books or postcards, and we could not visit any part of the huge archaeological site - which the old museum had been right in the heart of. It all felt a bit cold and unwelcoming for such a new and expensive place. We tramped back to the bus stop and sulked until a bus came.
Though it sometimes lacked in presentation, don't get me wrong: the sites and artefacts are amazing and it was mostly a great joy to plod about looking at stuff. The churches were all very welcoming, and often contained beautiful frescos. I felt a bit awkward being welcomed inside to look round during the middle of a service. Even when things were quiet, you feel a bit intrusive stood there gawping while devout local people slink to kiss the icons.
There were fun bits of Mediterranea, too, the little differences that remind you you're abroad. D gleefully ignored the no smoking signs in restaurants (one old chap in one restuarant at least made an effort to hide his fag below the edge of the table). The crossword and puzzle books on sale at all the kiosks had bikinied lovelies on their covers - what with that correlation between glamour* and wordsearches.
(* - that is, soft porn but with clothes on.)
The Greek alphabet also kept me childishly amused:
& Toot! - and with a cone of meat. And this logo for telecommunications was everywhere:
But the chief highlight was seeing the Dr relax, grinning round the museums and churches, not thinking about all the stressy house-buying stuff and, er, throwing herself into some shameless cat-adultery...
Sunday, January 09, 2011
Units of licenced merchandise
Those fine fellows at BBC Worldwide / 2|entertain have put a whole load of Doctor Who clips up on YouTube, including a snippet of a documentary what me and the brother done made.
Meglos is out on DVD this month with this documentary and another one by us on it. And we've got stuff on The Mutants and The Ark, too, which are released in coming weeks.
Also, Big Finish now have a cover and trailer up for The Perpetual Bond,out next month - a new adventure for the First Doctor and starring Peter Purves and Tom Allen. I've also got a short story on the second volume of Short Trips: 'Letting Go' features the Eighth Doctor and is read by India Fisher.
My Primeval book is now out in paperback, too.
Meglos is out on DVD this month with this documentary and another one by us on it. And we've got stuff on The Mutants and The Ark, too, which are released in coming weeks.
Also, Big Finish now have a cover and trailer up for The Perpetual Bond,out next month - a new adventure for the First Doctor and starring Peter Purves and Tom Allen. I've also got a short story on the second volume of Short Trips: 'Letting Go' features the Eighth Doctor and is read by India Fisher.
My Primeval book is now out in paperback, too.
Thursday, January 06, 2011
Books finished, December 2010
I enthused about volume one of Running Through Corridors by my chums Robert Shearman and Toby Hadoke the other day.One thing I didn’t mention is that, like a lot of small-press publications it’s got a fair few typos. That’s less a criticism as an acknowledgment that my own work has been blessed with some extremely accomplished editors. Developments in publishing in recent decades mean that books are produced by an every smaller team of people. That has a whole load of benefits to the industry, but it also means they are checked by ever fewer eyes. Good subs are therefore worth more than ever.
Good sub questions like ‘Who is this aimed at?’ kept bothering me as I read through my next two books. Richard P Feynman's Six Easy Pieces is not quite what it says on the cover. The word “easy” suggests it might be entry-level stuff, physics for the plebs. But even with all my recent reading and study, a lot of it went over my head. It's certainly not as layman-friendly as Feynman's Fun to Imagine series at the BBC Archive, which was what prompted me to pick up the book.
It’s taken from a longer collection of lectures on physics, which Feynman delivered back in the early 1960s. And the thing that sticks in my mind is that these lectures weren’t exactly a roaring success:
"Through the distant veil of memory, many students and faculty attending the lectures have said that having two years of physics with Feynman was the experience of a lifetime. But that's not how it seemed at the time. Many of the students dreaded the class, and as the course wore on, attendance by the registered students started dropping alarmingly. But at the same time, more and more faculty and graduate students started attending. The room stayed full, and Feynman may never have known he was losing some of his intended audience. But even in Feynman's view his pedagogical endeavor did not succeed. He wrote in the 1963 preface to the Lectures: 'I don't think I did very well by the students' ... Even when he thought he was explaining things lucidly to freshman or sophomores, it was not really they who were able to benefit most from what he was doing. It was his peers - scientists, physicists, and professors - who would be the main beneficiaries..."Despite failing his intended audience, Goodstein and Neugauer speak of Feynman's "magnificent achievement" and continue in the very next sentence that,David L Goodstein and Gerry Neugbauer, 'Special Preface (from Lectures on Physics) in Richard P Feynman, Six Easy Pieces, pp. xx-xxi.
"Feynman was more than a great teacher..."He might have been all very clever, but this jobbing freelancer muttered at that last statement.Ibid.
JP McEvoy’s A Brief History of the Universe (in the same series as Jonathan Clement's book on the Vikings) is a more pleb-friendly volume, taking us through the discoveries and developments in science since ancient times.
The history of discovery is a good way for explaining science to lay people as it makes it about people and drama. Bronowski’s The Ascent of Man does the same thing very effectively.
And yet McEvoy’s book is very oddly ordered. He’ll use technical terms such as the ecliptic several times before explaining what they mean, and discusses both Kepler and Newton’s three laws in some depth before listing what they are. A good few times, a late explanation had me flipping back a few pages to read a whole section again.
At first I thought this was down to the author not knowing quite what level of knowledge to assume from the reader. But there’s also a lot of odd repetition through the book. On page 228, McEvoy tells us that,
"Hubble changed our view of the universe more than any astronomer since Galileo",and a page later makes the same point:
"[Hubble] changed man's view of the universe as much as Copernicus and Galileo".The Whirlpool Galaxy is another example: it’s first mentioned on page 150:
"Rosse was the first to see the spiral structure of what was later known as the Whirlpool Galaxy."A paragraph later:
"[Messier's Catalogue of Nubulae and Star Clusters] was useful to Rosse who listed several of the nebulae on Messier's list, including M51, also known as the Whirlpool Galaxy."Two pages later, there's a mention of the,
"famous Whirlpool Galaxy (classified by Messier as M51), one of the most conspicuous, and best known spiral galaxies in the sky. M51 was of one Charles Messier's original discoveries in 1773 and was sketched by Lord Rosse in 1845."It's not merely the three mentions in as many pages that's so clumsy, but that the detail is in the last one: we could have just had that to begin with. (A later reference on page 237 wisely reminds us of Messier and his classification system when referring to the M51.)
This sort of thing shouldn’t matter but it's distracting. It's also indicative of a tendency to jump back and forth through the subject which can make it difficult to follow. That’s a shame because the subject is thrilling and McEvoy’s prose style usually simple and vivid.
And then on to made-up science. Brian W Aldiss and David Wingrove’s Trillion Year Spree, is a comprehensive history of science fiction published in the mid 1980s (and a follow-up to an earlier volume). The authors argue that sf is a sub-genre of the gothic and began with Mary Shelley's Frankenstein. They trace the highs and lows of the form through the next nearly two centuries, mostly focusing on US and UK work.
As a leading figure in sf himself, Aldiss is able to provide plenty of insights and gossip. Opinions of authors are often as much about what they were like in person as analyses of their work. There are a few fun jokes and bits of wordplay – one author is described as “more syndicated than sinning” – and quite a lot of bad ones.
There's an odd habit of paragraphs that only last one sentence.
But there’s not a great deal of depth, I felt. Rather the authors provide an annotated reading list of the “good stuff”. It’s telling, then, that Doctor Who gets one mention in passing while Star Trek's television series gets 6 entries and its four movies separately. A modern history of sf – especially one with such a British focus – wouldn’t do that now. And last year, Aldiss made his Doctor Who writing debut with a short story for the Brilliant Book. There’s a small schoolboy part of me that still can’t quite believe how much things have transformed.
There are other signs of the period in which this was written – such as that Iain Banks will be writing an explicitly sf novel next – but my main impression on reading titbits of the many authors’ lives is how little had changed. As Aldiss and Wingrove say themselves,
"It's evident, then as now, that the authors most eager to write for the quick buck are the ones most easily exploited by publishers."And, so perfectly put, the “rules of labour” in writing splendid hokum remain entirely unchanged:Brian W Aldiss and David Wingrove, Trillion Year Spree, p. 168.
"Write fast, do the unexpected, deliver on time, collect the cheque."For the record, that’s 48 books finished in 12 months, which is not too shabby (December - 4; November - 4; October - 4; September - 7; August - 0; July - 4; June - 4; May - 5; April - 4; March - 5; February - 3; January - 4). Not going to do these monthly things any more - they're too much of a bother. But have some more blogging 'bout books to come. Oh, aren't you fortunate?Ibid., p. 468.
Sunday, January 02, 2011
Books finished, November 2010
Catching up on the books of 2010. Goldfinger deserves a post of it's own sometime - and I certainly made loads of notes. But blimey, it's an odd book, with a interminably dull golf match that stretches over chapters being followed by an equally dull drive to Switzerland. So many of the iconic moments from the film - such as the girl killed by being painted gold - are reported rather than seen, and even for a Bond book there's a lot of casual racism.Some of that is the time in which it was written - Fleming also need to explain to the reader what karate is, and the term "'hit' - mobese for murder" (p. 186). But that will only go so far. Bond's thoughts on a girl who's not interested in him, and on where gayness might come from, are quite a surprise:
"Bond came to the conclusion that Tilly Masterson was one of those girls whose hormones had got mixed up. He knew the type well and thought they and their male counterparts were a direct consequence of giving votes to women and 'sex equality'. As a direct result of fifty years of emancipation, feminine qualities were dying out or being transferred to the males. Pansies of both sexes were everywhere, not yet completely homosexual, but confused, not knowing what they were. The result was a herd of unhappy sexual misfits - barren and full of frustrations, the women wanting to dominate and the men to be nannied. He was sorry for them, but he had no time for them."Of course, later Bond will convert the lesbian Pussy Galore so that she throws off a life of crime and ladies to help Bond stop the villains and get into his bed. We learn that Pussy is only a lesbian because she was abused by her uncle, and that all this time she's been waiting for a real man.Ian Fleming, Goldfinger, p. 189.
That this man turns out to be Bond is not merely reactionary fantasy but also a massive cheat in the plot. Pussy has only met Bond once - and briefly - before she switches sides. That's during a meeting between Goldfinger and America's fiercest hoodlums, where Bond is being Goldfinger's secretary. He doesn't say anything, let alone do anything to attract her attention. The 'real man' she falls for is the quiet one doing shorthand in a room full of toughs. Really not good enough, 007.
GCSE Astronomy - A Guide for Pupils and Teachers (1999) relates to an older version of the syllabus than the one I'm doing, but outlines the main topics and homework projects which is all very useful.
The Cosmos - A Beginnner's Guide is also me swotting up for class. Accompanying the TV series, it's an enthusiastic trawl through some of the big ideas and newer theories, with a particular pleasure in big machinery and diagrams.
Her Fearful Symmetry is sort of The Graveyard Book as told by Richard Curtis. The male hero is an embarrassed, slightly rubbish Hugh Grant type who falls under the spell of an American girl. He lives alone in a large flat in an expensive part of London without having to work, and is doing a PhD without apparently having to see a supervisor or, you know, actually do a lot of work or anything.
In fact, most of the characters idle along, going to museums and strange bits of London not in their lunch hours and stolen moments of the day but because they're filling time. There's none of the urgency, the effort, to earn enough for the costly capital city, and little of the noise and richness and mixture.
Highgate is just a stone's throw from Archway but is apparently an oasis of old-skool Englishness where no one is Black or gay. Everyone speaks English apart from two eccentric linguists - we get some wry stuff about the differences between American English and the local vernacular, but that's about it.
The volunteers running the cemetery are all sweet and understanding old dears - there's none of the petty jealousies, intrigues and empire-building that bother any place of work, especially one run by enthusiasts. As a result, it's an idyll of London which never quite rings true.
At one point, the book seems to notice this:
"Julia began to play a game that entailed travelling on the tube and randomly popping out at stations with interesting names: Tooting Broadway, Ruislip Gardens, Pudding Mill Lane. Usually the above-ground reality disappointed her. The names on the tube map evoked a Mother Goose cityscape, cosy and diminutive. The actual places tended to be grim: takeaway chicken shops, off-licences and Ladbrokes crowded out whimsy."But this may all be intentional, as the veil of unreality about the world matches the strange and sad and beautiful ghost story. It reminded me chiefly of the death of Simon Callow's character in Four Weddings - with the same awkwardness of feelings amongst a group of decent but unfulfilled people, the same peculiar peccadilloes and the knowledge that there can't be a happy ending, only one that's bittersweet.Audrey Niffenegger, Her Fearful Symmetry, p. 255.
It's an odd book, and haunting, but not quite as brilliant as The Time Traveller's Wife.
Friday, December 31, 2010
Catching up
Blimey. 2010 has been a bit of an old sod, all told. Having had next to no work for most of the summer, things suddenly got a bit manic in the last few months. Hence the lack of blogging. What follows is a splurge of me trying to catch up, more for my own future interest than yours.
My day job since September has been at Doctor Who Adventures, which has been a joy. It's quite a trek into the office and back - especially when there's any hint of weather - but that's given me lots of time for reading, which I'll try to blog about in the next few days.
At the end of November, the Dr and I jetted off to the States so I could spend the weekend showing off at Chicago TARDIS. Had a brilliant time - and the Dr made her debut on a convention panel, too. As always, there was too little time to natter with some very good friends and it was all over too quickly. But Graceless - which me, Ciara Janson and Laura Doddington were there to flog - seemed to go down well.
I also got a copy of Running Through Corridors by my chums Rob Shearman and Toby Hadoke, in which they watch all of black-and-white Doctor Who, two episodes per night. It's a pleasure to be in their company anyway, and the book is full of smart insights and jokes. It helps that Rob's a professional writer (he wrote for Doctor Who on TV himself) and Toby a jobbing actor - that experience gives them more of an 'in' to the mechanics of the programme than many other guides.
My favourite bits were when the two authors disagree over something and where real life crops up as part of the diaries - when their (non-fan) spouses chip in thoughts, or where the authors tell us about personal links to the stories. It's also fun just seeing how they juggle the watch round conventions and train journeys and things: the everyday minutiae of being a fan, fitting the programme around real life. Can't wait for the next volume.
After the convention, the Dr and I bussed up to Madison, Wisconsin to stay with some friends. We poddled round Madison and ate huge burritos, but mostly we spent the week loafing about. That was, sadly, quite a highlight of my year. I wrote two chapters of the Novel, read a fair bit and also did some thinking, which is a crucial part of being a freelancer and not something I've had much time for recently.
We returned to Chicago for one last night, and went out for a splendid dinner with T. All the time we were away we'd heard horror stories of the snow in London and how civilisation had collapsed. But on our last day the snow came down in Chicago - and it made not a jot of difference. We wrapped up warm and ventured out into the street, where the cars and buses and trains were all running just fine.
We caught the train down to the Museum of Science and Industry, where we had time to look round the U505 German submarine before going into Jim Henson's Fantastic World (runs until 23 January 2011).
Cor, that was fun. It's a comprehensive history of Henson's work, with many original sketches and puppets amid film clips and live performances. I'd seen a lot of the sketches before (in Jim Henson's Designs and Doodles - a Muppet Sketchbook), but its a very different thing then seeing clips of the realised creatures, shambling about.
I loved seeing Henson's non-Muppets work - his adverts, his documentaries, his experimental films. The producers of Sesame Street apparently brought him on board because they'd noticed that children were hooked on the speed and brightness of adverts. The Dr was much taken with the exhibition and is going to use it as the basis of some report thing she has to do at work.
As always, the museum shop was full of things we didn't want and had little that we did. So we made our way to the airport. Blimey, O'Hare Airport is a dreary place to sit for hours. There's little in the way of shops or distractions - you have to go back out of Passport Control for most things, and the one bar was the only place to ID me the whole time we were away.
But the plane home was pretty much on time and unencumbered by the snow. I watched Inception and Salt, neither of which really did anything for me. (On the way out, I watched Agora - featuring Rachel Weisz, and her nekkid bum in one bit - and Toy Story 3. The Dr cried at the sacking of the Library of Alexandria, I did not so much as sniffle at the toys. Honestly.)
Got home to find a crazy world of emails hollering for work. Since getting back I've written one play and pitched for four more - just as well I had that thinking time! The brother/boss also needed a final, final rewrite on our short film, having fixed the location.
Oh yes: we've made a film. Cleaning Up stars Mark Gatiss, Louise Jameson and lots of brilliant people, and was shot the weekend after I got back. I'd been working on the script since 2008 - and intensively over the last year, since Joseph Lidster signed up as script editor - but suddenly it was real, with a whole massive film crew. Mad and exciting, and I'm really rather proud of the brother/boss. He, producer Ben Greenacre and everyone else just worked wonders. I sort of stood in a corner and tried not to get in the way. There'll be plenty more about the film in the new year, sorry.
I also got to see Gatiss in Seasons Greetings - which is magnificently funny and runs til 13 March. And I've seen Harry Potter 7.1 twice. While I appreciate all Jonny's shrewd remarks, I still pretty much loved every second.
And then it's been working and working. The day job, some interviews, a comic strip or three, a magazine feature, a play and a world of pitches... It's feast or famine in this job, but all told, I'm knackered. Whited out on Christmas Day and went to bed with a migraine for most of the afternoon, then spent the next day carefully not doing anything. I start a part-time job in a couple of weeks that I'm hoping will make life slightly less fraught and more orderly.
Meanwhile, the Dr has been slaving away at the paperwork so that we can move house. And once that's done she can have a second cat - one she's already selected. Lots of changes in the air, and lots we have to do, but things are on the up... It's been a hell of a year, and I'm quite glad to see the back of 2010. But 2011 is already looking exciting. Let's see what can go wrong...
My day job since September has been at Doctor Who Adventures, which has been a joy. It's quite a trek into the office and back - especially when there's any hint of weather - but that's given me lots of time for reading, which I'll try to blog about in the next few days.
At the end of November, the Dr and I jetted off to the States so I could spend the weekend showing off at Chicago TARDIS. Had a brilliant time - and the Dr made her debut on a convention panel, too. As always, there was too little time to natter with some very good friends and it was all over too quickly. But Graceless - which me, Ciara Janson and Laura Doddington were there to flog - seemed to go down well.
I also got a copy of Running Through Corridors by my chums Rob Shearman and Toby Hadoke, in which they watch all of black-and-white Doctor Who, two episodes per night. It's a pleasure to be in their company anyway, and the book is full of smart insights and jokes. It helps that Rob's a professional writer (he wrote for Doctor Who on TV himself) and Toby a jobbing actor - that experience gives them more of an 'in' to the mechanics of the programme than many other guides.
My favourite bits were when the two authors disagree over something and where real life crops up as part of the diaries - when their (non-fan) spouses chip in thoughts, or where the authors tell us about personal links to the stories. It's also fun just seeing how they juggle the watch round conventions and train journeys and things: the everyday minutiae of being a fan, fitting the programme around real life. Can't wait for the next volume.
After the convention, the Dr and I bussed up to Madison, Wisconsin to stay with some friends. We poddled round Madison and ate huge burritos, but mostly we spent the week loafing about. That was, sadly, quite a highlight of my year. I wrote two chapters of the Novel, read a fair bit and also did some thinking, which is a crucial part of being a freelancer and not something I've had much time for recently.
We returned to Chicago for one last night, and went out for a splendid dinner with T. All the time we were away we'd heard horror stories of the snow in London and how civilisation had collapsed. But on our last day the snow came down in Chicago - and it made not a jot of difference. We wrapped up warm and ventured out into the street, where the cars and buses and trains were all running just fine.
We caught the train down to the Museum of Science and Industry, where we had time to look round the U505 German submarine before going into Jim Henson's Fantastic World (runs until 23 January 2011).
Cor, that was fun. It's a comprehensive history of Henson's work, with many original sketches and puppets amid film clips and live performances. I'd seen a lot of the sketches before (in Jim Henson's Designs and Doodles - a Muppet Sketchbook), but its a very different thing then seeing clips of the realised creatures, shambling about.
I loved seeing Henson's non-Muppets work - his adverts, his documentaries, his experimental films. The producers of Sesame Street apparently brought him on board because they'd noticed that children were hooked on the speed and brightness of adverts. The Dr was much taken with the exhibition and is going to use it as the basis of some report thing she has to do at work.
As always, the museum shop was full of things we didn't want and had little that we did. So we made our way to the airport. Blimey, O'Hare Airport is a dreary place to sit for hours. There's little in the way of shops or distractions - you have to go back out of Passport Control for most things, and the one bar was the only place to ID me the whole time we were away.
But the plane home was pretty much on time and unencumbered by the snow. I watched Inception and Salt, neither of which really did anything for me. (On the way out, I watched Agora - featuring Rachel Weisz, and her nekkid bum in one bit - and Toy Story 3. The Dr cried at the sacking of the Library of Alexandria, I did not so much as sniffle at the toys. Honestly.)
Got home to find a crazy world of emails hollering for work. Since getting back I've written one play and pitched for four more - just as well I had that thinking time! The brother/boss also needed a final, final rewrite on our short film, having fixed the location.
Oh yes: we've made a film. Cleaning Up stars Mark Gatiss, Louise Jameson and lots of brilliant people, and was shot the weekend after I got back. I'd been working on the script since 2008 - and intensively over the last year, since Joseph Lidster signed up as script editor - but suddenly it was real, with a whole massive film crew. Mad and exciting, and I'm really rather proud of the brother/boss. He, producer Ben Greenacre and everyone else just worked wonders. I sort of stood in a corner and tried not to get in the way. There'll be plenty more about the film in the new year, sorry.
I also got to see Gatiss in Seasons Greetings - which is magnificently funny and runs til 13 March. And I've seen Harry Potter 7.1 twice. While I appreciate all Jonny's shrewd remarks, I still pretty much loved every second.
And then it's been working and working. The day job, some interviews, a comic strip or three, a magazine feature, a play and a world of pitches... It's feast or famine in this job, but all told, I'm knackered. Whited out on Christmas Day and went to bed with a migraine for most of the afternoon, then spent the next day carefully not doing anything. I start a part-time job in a couple of weeks that I'm hoping will make life slightly less fraught and more orderly.
Meanwhile, the Dr has been slaving away at the paperwork so that we can move house. And once that's done she can have a second cat - one she's already selected. Lots of changes in the air, and lots we have to do, but things are on the up... It's been a hell of a year, and I'm quite glad to see the back of 2010. But 2011 is already looking exciting. Let's see what can go wrong...
Thursday, December 23, 2010
Wednesday, November 17, 2010
Telescope cherry
Of no interest to anyone else I am sure, but yesterday I looked up at space through a telescope for the first time.
My astronomy GCSE course has attempted this before, and again last night we trooped up to the famous 28" inch refracting telescope (the one used by Karen Gillan in Doctor Who Confidential earlier this year) only to find the view again obscured by clouds. The proper astronomer and our teacher filled time, explaining the history and mechanisms and testing our new-learnt knowledge. We waited and waited, and used a clever gadget called a 'window' to check if the sky might be clearing, but eventually decided to troop back into the warm.
Once we'd watched the telescope get put to bed and trooped down the steps and outside the Moon couldn't have been clearer - the tease. So the intrepid Nick who organises our group quickly found us an 8" inch reflector built by Meade: a bucket-shaped thing about the length of my forearm.
As the experts put this contraption together, Nimbos and grabbed a cup of tea and were then out in the cold again to queue up for a look.
The waxing gibbous moon looked shiny bright to the naked eye and, as thin cloud occasionally brushed over it, produced a glowing halo. This is due to icy crystals in the wintry cold atmosphere, which refract moonlight. The centre of the halo is bluish, the edge of it red - for the same reason as the different colours of the rainbow.
Looking through the telescope was something else entirely. At first I could see nothing but a white blur - as we'd been queuing the Earth's rotation had moved the telescope a bit. The helpful astronomer adjusted the setting and then - oh blimey - I saw.
A curved, gleaming surface of white, splotched with little craters, so bright it looked like plaster of Paris that had not quite set, the splotches made just a moment before I looked. The edges of these feature cast long, distinct shadows, picking out the details. The surface rippled slightly, as if I was looking through clear water - an effect of Earth's atmosphere refracting the light, something astronomers call 'seeing'. But another world, and in plain sight, tantalising, just out of reach.
Once we'd all wowed at this incredible view, the astronomers moved the telescope and trained it on Jupiter. With the naked eye, the huge planet looked like a bright star, hanging at about five o'clock below the Moon. Before we'd ventured out into the cold, we'd look at it using the free - and cool - Stellarium software which gave us an idea of what to expect: Jupiter in a line with its four largest moons.
But to actually see it! I took a moment to realise what I was looking at - the telescope flipping the image upside down, a reflection of the Stellarium cheat. A murky, stripey ball hanging in the darkness at the centre of the eyepiece. To the left (in reality, to the right) three bright stars - just the same size as Jupiter appeared to the naked eye. On the right, another star.
These moons, first seen by Galileo 400 years ago, transformed our understanding of our place in the universe. For more than 2,000 years the assumption had been that the Earth was at the centre of everything, that the celestial bodies looped slowly around us. Galileo tracked the positions of his four Galilean moons and showed why they moved and sometimes vanished. Now here was evidence of Moons circling something else: proof that we're not at the centre of things, the first sign that we live and toil on an insignificant sticky rock circling an insignificant star.
That is, except for something that's not insignificant: we look up.
My astronomy GCSE course has attempted this before, and again last night we trooped up to the famous 28" inch refracting telescope (the one used by Karen Gillan in Doctor Who Confidential earlier this year) only to find the view again obscured by clouds. The proper astronomer and our teacher filled time, explaining the history and mechanisms and testing our new-learnt knowledge. We waited and waited, and used a clever gadget called a 'window' to check if the sky might be clearing, but eventually decided to troop back into the warm.
Once we'd watched the telescope get put to bed and trooped down the steps and outside the Moon couldn't have been clearer - the tease. So the intrepid Nick who organises our group quickly found us an 8" inch reflector built by Meade: a bucket-shaped thing about the length of my forearm.
As the experts put this contraption together, Nimbos and grabbed a cup of tea and were then out in the cold again to queue up for a look.
The waxing gibbous moon looked shiny bright to the naked eye and, as thin cloud occasionally brushed over it, produced a glowing halo. This is due to icy crystals in the wintry cold atmosphere, which refract moonlight. The centre of the halo is bluish, the edge of it red - for the same reason as the different colours of the rainbow.
Looking through the telescope was something else entirely. At first I could see nothing but a white blur - as we'd been queuing the Earth's rotation had moved the telescope a bit. The helpful astronomer adjusted the setting and then - oh blimey - I saw.
A curved, gleaming surface of white, splotched with little craters, so bright it looked like plaster of Paris that had not quite set, the splotches made just a moment before I looked. The edges of these feature cast long, distinct shadows, picking out the details. The surface rippled slightly, as if I was looking through clear water - an effect of Earth's atmosphere refracting the light, something astronomers call 'seeing'. But another world, and in plain sight, tantalising, just out of reach.
Once we'd all wowed at this incredible view, the astronomers moved the telescope and trained it on Jupiter. With the naked eye, the huge planet looked like a bright star, hanging at about five o'clock below the Moon. Before we'd ventured out into the cold, we'd look at it using the free - and cool - Stellarium software which gave us an idea of what to expect: Jupiter in a line with its four largest moons.
But to actually see it! I took a moment to realise what I was looking at - the telescope flipping the image upside down, a reflection of the Stellarium cheat. A murky, stripey ball hanging in the darkness at the centre of the eyepiece. To the left (in reality, to the right) three bright stars - just the same size as Jupiter appeared to the naked eye. On the right, another star.
These moons, first seen by Galileo 400 years ago, transformed our understanding of our place in the universe. For more than 2,000 years the assumption had been that the Earth was at the centre of everything, that the celestial bodies looped slowly around us. Galileo tracked the positions of his four Galilean moons and showed why they moved and sometimes vanished. Now here was evidence of Moons circling something else: proof that we're not at the centre of things, the first sign that we live and toil on an insignificant sticky rock circling an insignificant star.
That is, except for something that's not insignificant: we look up.
Thursday, November 11, 2010
Meat feast
Had lunch at the Westfield Byron Burger today with m'learned colleagues and chose the double Byron because I is a pig. Finished before anyone else too. Oink oink.
Friday, November 05, 2010
Where's Simon?
Graceless, the three CD sci-fi mini-series what I wrote, is out this month. The Big Finish website boasts full details and a trailer, and the new issue of free online Vortex magazine interviews stars Ciara Janson and Laura Doddington.Ciara will also be at the Dimensions convention next week, along with director Lisa Bowerman and the Big Finish gang. Me, Ciara, Lisa, Laura and a whole cohort of slebs will also be at ChicagoTARDIS at the end of the month. Hooray!
That sadly means I miss Nev Fountain and Nicola Bryant signing copies of the Mervyn Stone Mysteries at Forbidden Planet on 25 November. The books are now out and already garnering nice comments on the internet. I've been helping with the publicity.
Also out now is Cinema Futura, edited by Mark Morris and containing the wise words of many wise people, including my chums Guy Adams, Paul Cornell, Joseph Lidster, James Moran and Rob Shearman. Oh, and there's me going on about the Peter Cushing Doctor Who films.
Plus I've got a story in the new Bernice Summerfield anthology, Present Danger, edited by Eddie Robson. It's the first thing I've written for dear old Benny in three years - back when I was her boss and king.
I'm afraid there's a load more of stuff by me due out over the next few months. Prison in Space, my adaptation of an unmade 1968 Doctor Who story, is out in December (there's a trailer on the site, too). In January, there's The Perpetual Bond starring Peter Purves and Tom Allen, and a whole bunch of Doctor Who DVD documentaries with my name on the credits. Sorry.
I am, meanwhile, manically busy with a whole bunch of stuff. I'm very nearly done on one extremely thrilling project which I've been slaving on for over a year. Announcements and things in due course. Am also having a lovely time at Doctor Who Adventures, am writing comics and short stories for somebody else and am just about keeping up with my space homework. But phew, knackered. Back to work...
Wednesday, November 03, 2010
Books finished, October 2010
High Rise by JG Ballard is told from the point of view of three men living at different levels of a block going to war with itself.
It's set in a grim future familiar from early 70s films – people living surrounded by concrete and fab gadgets, but where women still know their place and wait for husbands to come back from the office. Like the grim futures of Escape From The Planet of the Apes or A Clockwork Orange, violence seethes barely out of sight of their thick make-up and dinner parties, and suddenly the most respectable figures – think Margot and Jerry Leadbetter – are peeing in the swimming pool, murdering dogs, and caught up in cannibalism and incest.
It's a depressingly cruel and stupid story, playing out scenes of ever more brutal, primal violence in a dispassionate tone. There's little to differentiate our three protagonists apart from the levels at which they live in the building. There's little wit, irony or insight, and a lot of mention of exposed breasts and heavy loins. And yet its easy to get caught up in the collapse, the infantile misanthropy really striking a chord as I read it squodged in among other commuting livestock.
The book also includes various snippets of review, including the following gem:
“Ballard is neither believable or unbelievable ... his characterization is merely a matter of “roles” and his situations merely a matter of “context”: he is abstract, at once totally humourless and entirely unserious...”That sounds rather damning until the next sentence:
“The point of his visions is to provide him with imagery, with opportunities to write well, and this seems to me to be the only intelligible way of getting the hang of his fiction.”'Unbelievable, humourless, abstract... and this is him writing well.Martin Amis, New Statesman, quoted in JG Ballard, High Rise, p. 1.
I read Robert Rogers and Rhodri Walters' How Parliament Works (6th edition) in preparation for a job interview. It's a comprehensive, insiders' account and nicely up-to-date (to 2006), with some good thoughts on the future of the Houses and their procedures which stood me in good stead. I got the job, so woot.
“Long experience has taught me this about the status of mankind with regard to matters requiring thought: the less people know and understand about them, the more positively they attempt to argue concerning them; while on the other hand, to know and understand a multitude of things renders men cautious in passing judgement upon any of them.”Galileo's Dream is a decidedly odd book. About half of it is a historical novel about Galileo Galilei (1564-1642), from his first hearing about the invention of telescopes and endeavouring to build one himself, through to his death under house arrest for daring to suggest, via the evidence of his observations, that the Earth orbits round the Sun.
Robinson is, as ever, expert at explaining the science bits and making them a vivid, thrilling part of the story. He's good at the petty jealousies and court politics that surround Galileo, his struggles with his family and commitments, his need to get funding for his work. It never quite needs be spelled out how little the practicalities of research have changed since Galileo's time.
A lot of this is especially enthralling as I'm studying GCSE Astronomy, and was making my own steady progress through the mathematics of lenses and focal lengths at roughly the same rate as the book. There's some interesting stuff about Galileo, the first man ever to gaze at the magnified moon, drawing prominent features bigger than they really are so that future observers would look out for them (p. 38). Observation, he realises in the book, is itself a level of magnification.
Robinson has a knack for getting into the heads of especially clever people. Galileo himself is a richly drawn character, brilliant and bombastic and impetuous. He makes a lot of enemies early on by winning debates rather rudely and not sparing egos. He's blind to how his actions affect others, estranged from family and former lovers. This all set up his enemies' revenge when they accuse of him of being a heretic.
“Galileo kept defending himself, in print and in person ... Whenever he was healthy he begged Cosimo, through his secretary Curzio Pecchena, to be allowed to go to Rome so that he could defend himself. He was still confident that he could demonstrate the truth of the Copernican hypothesis to anyone he spoke to in person. Picchena was not the only one who doubted this. Winning all those banquet debates had apparently caused Galileo to think that argument was how things were settled in the world. Unfortunately this is never how it happens.”Robinson is again good at teasing out the characters and global politics involved, as the new and liberal Pope finds himself undermined by the Medicis and needing to look strong. A war between two Catholic nations is deftly shown to play it's part in bringing Galileo to trial, while we hear of secret documents and meetings long before they play their part in the story.Ibid., p. 153.
The trial itself is, I think, a major stain on the history of the Catholic Church, but Robinson shows admirable restraint in depicting the many pressures on those involved. I expected the final judgement to make me angry; it just left me sad. The last part of the book, as Galileo struggles against infirmity and the deaths of loved ones, make this an effective tragedy. As a historical novel, it's quite a treat: clever, compelling and moving while at the same time an education.
And yet, that's only half the book. For the other half, Galileo travels epileptically (p.235) to the distant future, where humans are busy bothering alien life on Jupiter's moons – the very moons Galileo was first to see. This allows some rather po-faced future people to comment on and contextualise Galileo and his times, muttering about his treatment of women and his role as the inventor – and first martyr - of scientific method.
It's a little like the trick of Life on Mars, where adding a present-day policeman to a 1970s precinct lets you do all that fun cop stuff like out of The Sweeney while tutting at its prejudice and clichés. But I sighed inwardly every time we jumped to the future for another interminable debate about whether we ought to make contact, or if it would have been better for society had Galileo been burnt at the stake.
There's lots on the development of science after Galileo's – and our own – time. He is brought to the future by something called entanglement which is couched in scientific terms. But this made-up science and the made-up future politics do nothing but disservice to the real man and his accomplishments. The book suggests Galileo – and also Archimedes – achieved great things because of what time travellers had told him. It's an insult to the man and his work, otherwise brought so vividly to life.
We discover that the story is being narrated by the Wandering Jew, himself a traveller from the far future, and telling the story as he awaits execution during the Reign of Terror. It's all in highly questionable taste, and is less profound or insightful as it is portentous. It reminded me too often of dreary sci-fi shows in which dreary characters plod dreary corridors earnestly discussing dreary plot. It's a not very good episode of Star Trek: The Next Generation, or any episode of the new Battlestar Gallactica. And this is all the more galling because the other half of the book is so good.
I found John Osborne's Look Back in Anger gruelling when I read it at sixth-form half my life ago. Now it just seems painfully arch, two well-to-do young women falling for the same frustrated loser. It reminded me most of angry tirades from my fellow writers about the world failing to provide for their needs. It's not that I don't do that myself from time to time (sorry), but it's no fun to sit through and not exactly profound. The women - and the audience - would be better off walking out.
Sunday, October 24, 2010
Sci-Fi Ancient Egypt
I wrote this trail for the Petrie Museum of Ancient Egyptology, which has just had a spangly new makeover. Cat and gothic trails are also available (not by me). Download the latest versions from the Petrie's trails and resources page.
(Will add more images and links when I have a chance.)
SPHINX
1. UC14769 (IC13, 2nd from top): Part of base of a sandstone sphinx with 2 paws and cartouches each side denoting Seti I.
As Petrie argued, understanding the past helps to place the worries and wants of the present day in context. Archaeology strives to understand the past from the meagre fragments left to us. From the exquisitely crafted jewels and sculptures to the shards of broken pottery, collecting and comparing these fragments slowly brings the long dead back to life.
We know the fragment here shows the paws of a sphinx from comparison with other artefacts and sources. A sphinx is a mythological creature, often (though not always) having the body of a lioness and the head of a woman. Sphinxes are usually found “guarding” royal tombs.
Science fiction can also place the worries and wants of the present day in context by imagining things to come. HG Wells wrote what many consider the first science-fiction novel The Time Machine in 1895 when the British Empire reached across the world.
In the story, a Victorian inventor travels to the year 802,701 where he discovers that humans have died out. Instead, creatures called Eloi and Morlocks live in the shadow of an ancient monument, the only visible remaining trace of civilisation. Wells makes this ancient monument a sphinx, likening the fall of civilisation (and the British Empire) to the fall of ancient empires such as Egypt. The story – and these fragments of two paws – remind us that nothing lasts forever.
Several science-fiction stories show us future societies struggling to understand the fragments left of our own civilisation – often for comic effect. In the 2005 Doctor Who story The End of the World, for example, the Lady Cassandra insists that an old Wurlitzer jukebox is an ‘iPod’.
But there's a sadder connection between the fragments of the past and science fiction. The Petrie Museum holds scant fragments of one of the earliest-known copies of The Iliad. Doctor Who visited the events of The Iliad in the 1965 story The Myth Makers, a story that has since been deleted from the BBC archive. Fragments are left: a full soundtrack (released on CD by BBC Audio), some photographs from the set and a few seconds of low-quality footage.
RAT TRAP
2. UC16773 (Object by Site: Lahun, bottom): Pottery rat trap. Handle, one end and trap door missing - one enlarged air slit partly blocked with ancient plaster. (Originally identified as a coop for small chickens or incubator).
Archaeology and science fiction can both show us how similar we are today to the people of the distant past and future, with the same worries and wants. Here is a pottery rat trap from 1985 -1795 BCE. It gives a vivid sense of the kind of everyday problems faced by people 4,000 years ago. Beside the rat trap is a modern version of the type still in use across Africa. The suggestion might be that little has changed in all that time, that people will always be people. This can also be used to dramatic effect.
In the 2008 Doctor Who story The Fires of Pompeii, Caecillius is pretentious about art, worries about his son getting drunk and how his daughter is dressed. Though this is jokey to begin with, when the volcano Vesuvius erupts, the story is all the more effecting because we've seen these people are so like us.
In The Fires of Pompeii, the Doctor mentions meeting the Emperor Nero – as he does in the 1964 story The Romans. 3. Nero is named in the cartouche on the blocks UC14528 and 16516 (case IC16).
MINOTAUR and MEDUSA
4. UC14518 (case IC9): Limestone slab with bull-headed god, between parts of 2 other figures.
We tend to think of ancient civilisations existing in isolation – the ancient Greeks and Romans separate from the ancient Egyptians. But it's evident from finds made by archaeologists that ancient cultures traded with one another, and that ideas and stories spread. Myths were retold and reworked by different people, as they have been ever since.
Gene Wolfe's Soldier of Sidion (2006) is set in Ptolemaic Egypt, the third in a series about a Roman mercenary making his way through the ancient world but one where the ancient gods walk among the ordinary mortals. A rich, clever adventure, it dares suggest itself less “fantasy” as historical novel.
In the examples on display in the museum here, we can see that the ancient Egyptians themselves told stories featuring characters we traditionally think of as “belonging” to other cultures – such as bull-headed people (like the Minotaur from Greek mythology) and gorgons (like Medusa).
Many science fiction stories rework myths or elements of them. They might reveal that the gods and monsters of the ancient world were aliens or robots. They retell the ancient stories in space instead of Egypt or cherry-pick incidents or characters.
5. UC48468 (case PC 35): Terracotta medallion of a gorgon head; there are traces of white paint on the surface. The facial features are sharply moulded and the hair wavy with two entwined snakes at the top.
Medusa appears in the Doctor Who story The Mind Robber (1968), the Minotaur in The Time Monster (1972). The latter was released on DVD in March 2010 as part of the “Myths and Legends” box-set (BBC DVD 2851), along with two other Doctor Who stories that rework ancient stories.
SOUNDS FAMILIAR
Sometimes science fiction doesn't rework the myths so much as just borrow the names. For example, the Doctor and the Daleks briefly visit the pyramids in episodes 9 and 10 of The Daleks' Masterplan (1966).
(Episode 9 no longer exists in the BBC archive but episode 10 is included in the "Lost in Time" box-set, along with the few existing seconds of footage from The Myth Makers).
The three Egyptians who help fight the Daleks are named “Khephren”, “Tuthmos” and “Hyksos”.
Khephren takes his name from Chephren / Khafre (c.2558 - c.2532 BCE), the pharaoh who built the second great pyramid at Giza and whose face was the model for the sphinx that guards it. You can see a cuboid fragment from the second pyramid at 6. UC16043 (entrance case on right).
Tuthmos is derived from “Tuthmosis”, the name of several pharaohs in the 16th and 15th centuries BCE. Most notably, Tuthmosis III (1479 – 1425 BCE) was a military genius who massively expanded the Egyptian empire. A cartouche of his name can be seen at 7. UC14542 (case IC5).
The tomb of Tuthmosis III was excavated in 1898 by Petrie's contemporary, Victor Loret (1859-1946). The tomb (KV34) in the Valley of Kings included the first complete-found “Amduat” - the book of the Underworld. It is also, as Sarah Jane Smith tells the Doctor in the 1975 story The Pyramids of Mars, where an account is given of Sutekh's battle with his brother Horus.
Hyksos is named after the people from Palestine who ruled in Egypt in the 17th century BCE. Examples of pottery from their time and influenced by them include the black duck jug at 8. UC13479 (case PC27), with white incisions on display in the Pottery Gallery.
SEQUENCE DATING
The film and TV series Stargate (1994, 1997- ) explain that the myths and names of ancient Egypt derive from meetings (via gateways across space) with aliens. The hero of the film is an archaeologist and sarcophagi are used to resurrect people. In the film, the planet on the far side of the stargate is called Abydos, which is the name of the place where the tomb of Osiris is located and where this limestone stele 9. UC14488 (case IC2) was found.
The film shows us the “real” Egyptian gods Anubis and Ra. The TV series has also shown Apophis, Anubis, Ba'al, Hathor, Nirrti, Osiris and Seth – among others. It has also freely used names and events from other mythologies.
(By comparing the names and events of other mythologies rather than Egypt specifically, Stargate follows in a tradition of science fiction stories taking their cue from Joseph Campbell's 1949 book on comparative anthropology, The Hero With a Thousand Faces.)
The stargates and other technology in the series are made of an element called “naqahdah”. The name is reminiscent of Naqada, a town on the west bank of the Nile that Petrie excavated in 1894.
Whereas some archaeologists before him had been more interested in finding treasure and texts, Petrie carefully recorded everything he found, including the broken pieces of pottery on display in the Pottery Room. (Start at PC3 and also see www.digitalegypt.ucl.ac.uk/pottery/seqdates.html)
By comparing the styles of pottery itself and its decoration, Petrie developed a Sequence Dating system – a timeline of nine developments in Egyptian pottery. This could then be used to give approximate dates to any further finds made which contained fragments of pottery.
According to Petrie's system – and subsequent testing – the town of Naqada is one of the oldest in Egypt, with pottery found from 4000 BCE in the pre-dynastic period. As a result, the name of the town often appears near the top of any timeline. That may well be why the producers of Stargate chose it.
Like Stargate, a 2009 episode of the TV series Primeval suggested that the “gods” from ancient Egypt were real creatures. One of them chased through the Egyptian galleries at the British Museum.
SCARAB BEETLES
10. UC69860 winged scarab beetle (case L)
The way that scarab beetles rolled great balls of dung seemed, to the ancient Egyptians, like the way the Sun rolled across the sky. Perhaps the Sun, too, was pushed by a giant beetle. The beetle was therefore symbolic of time.
The beetles also ate the balls of dung and their young emerged from them – as if, the ancient Egyptians thought, they had been spontaneously created. The beetles were therefore also symbolic of regeneration.
Time and regeneration are, of course, quite important to Doctor Who. But beetles usually play a more sinister role in modern stories that loot the relics of ancient Egypt. In the 1999 film The Mummy, the tomb of Imhotep is guarded by flesh-eating scarabs.
The 1967 Doctor Who story The Tomb of the Cybermen reworks many familiar elements from Mummy stories in a science-fiction context. In the 1959 Hammer film The Mummy, actor George Pastell plays Mehemet Bey, worshipper of Karnak, who pretends to be a friend of the archaeologists then entreats the risen Mummy to kill them. In the Doctor Who story Pastell plays much the same part, but here he's a member of the Brotherhood of Logicians. Instead of scarabs, we are introduced to Cybermats, which poison and kill the archaeologists as the story requires.
ANKH
11. UC43949 (case WEC9) Light green faience ankh inscribed on both sides of shaft with epithets and cartouches of Aspelta.
Egyptian gods are often shown carrying the ankh, also known as the “key of life”, the hieroglyphic symbol for eternal life. There are several different theories about what the ankh derives from. Is it meant to show a man and woman united under the Sun, or does it show the Nile at the centre of Egypt, the loop at the top representing the Nile Delta, or a penis sheath?
In Neil Gaiman's award-winning Sandman comics, the ankh is the symbol of the character Death. In the TV series Lost, several characters are seen wearing ankh pendants, while the giant statue of the hippo-god Taweret holds an ankh in each hand. (Lost is littered with Egyptian symbols and hieroglyphs, see http://lostpedia.wikia.com/wiki/Hieroglyphs.)
NEMES HEADRESS
12. UC14363 (case IC17) Head of mottled diroite (about 1/2 size) of King Amenemhat III, wearing Nemes head-dress and uraeus.
The distinctive striped “nemes” head cloth was worn by Egyptian pharaohs. The flaps of the head cloth taper out behind the wearer's ears and hang down below both shoulders. The golden mask of Tutankhamun and the great statues of Ramesses II are famous examples of pharaohs wearing the nemes. It was often worn with a “uraeus” or “cobra” on the forehead, symbol of royalty.
The space helmets worn by Viper pilots in the original Battlestar Galactica TV series (1978-9) were based on the nemes head cloth, subtly suggesting the links between the human refugees seen in the series and the “legendary” planet Earth they were searching for. The helmets featured a viper symbol instead of the uraeus.
The modern version of Battlestar Galactica (2004- ) has not retained the nemes-style helmets, but there are still occasional hints of the links between the refugees and Earth's ancient civilisations. For example, pyramids can be glimpsed on the colony planet Kobol.
Both the original and modern versions of Battlestar Galactica are available to buy on DVD.
MAGIC
13. UC36314 (case J): Hippopotamus ivory clapper, reconstructed from fragments, in form of right hand; incised bracelet band at wrist and ornate net pattern on arm.
There are many theories about the wands found, usually made of hippopotamus ivory. Hippopotamuses and elephants are dangerous creatures, so acquiring the ivory from a living animal may have been part of the ritual. The wands do not use all of the tusk, either, so each tusk may have produced a “family” of linked wands (not dissimilar to the families of wands in Harry Potter). Wands were clearly of great value. Some use ebony and other precious materials.
Little is known of Egyptian magic, which makes it ripe for speculation in horror and science fiction stories. The Book of the Dead is central to many stories dealing with mummies and resurrection. But Egyptian magic is also used to time travel in both Tim Powers' award-winning The Anubis Gates (1983) and Terry Pratchett's less serious Pyramids (1989).
SUTEKH
14. UC45093 (case IC7): Upper part of a green glazed steatite round-topped plaque incised with image of Seth standing, to his right a column of hieroglyphs 'excellent praised one, beloved of Seth lord of Nubt'.
In the 1975 Doctor Who story The Pyramids of Mars, the Doctor and Sarah Jane Smith battle the Egyptian god Sutekh – also known as Set or Seth. The inscription says that Seth was “Lord of Nubt”, the ancient name for Naqara (see above).
Though Seth was Lord of Nubt, the opening shot of The Pyramids of Mars uses stock footage of the step pyramid at Saqqara. A block, possibly an altar or the top of a pyramid looks like the Step Pyramid in Stonework: Statuary IC15 15. UC69838.
Sarah knows about Sutekh's battles with his brother Horus: she explains Sutekh was captured by Horus and “the 740 gods named on the tomb of Tuthmosis III”.
The story includes robot mummies, sarcophagi that transport people, a forcefield controlled by canopic jars, and sphinx-like riddles to get into the pyramid on Mars. It draws heavily on the 1959 Hammer film The Mummy, as did The Tomb of the Cybermen (see above).
While Egyptian mythology (and Doctor Who) is full of creatures that are human but for animal heads, unusually, the animal that provides Seth with his head is unknown to science.
HEROES
16. Portrait of Flinders Petrie by Fülöp László (1934). The old man in the picture might not seem a likely inspiration for Indiana Jones. Yet the traveller-archaeologists of the late 19th and early 20th centuries told exciting tales of the worlds they'd discovered – and the adventures they had in discovering them.
Indiana Jones, Rick O'Connell in The Mummy, Daniel Jackson in Stargate and the Doctor's future wife, River Song in Doctor Who have followed that lead. The archaeologist battles the odds to uncover strange and surprising artefacts that change how we see our own place and time.
Like detectives, they use the clues left behind (17. UC50615 Roman Terracotta Tower lamp, like the ‘TARDIS’ lamp on the altar to the household gods in The Fires of Pompeii), the battered artefacts and writings. They don't use them just to solve crimes but to build whole cities and empires and worlds. Exploring the real, ancient world turns out to be just as rich, strange and exciting as anything we can imagine in a story.
© Simon Guerrier, 2010
Primary sources
Battlestar Gallactica (1978-9, 2004-)
Doctor Who
Lost (2004-10)
The Mummy (1959)
The Mummy (1999)
Rowling, JK, Harry Potter and the Philosopher's Stone (1997)
Powers, Tim, The Anubis Gates (1983)
Pratchett, Terry, Pyramids (1989)
Primeval (2007-)
Stargate (1994, 1997-)
Wells, HG, The Time Machine (1895)
Wells, HG, The War of the Worlds (1898)
Wolfe, Gene, Soldier of Sidion (2006)
Secondary sources
Burdge, Anthony, Burke, Jessica, and Larsen, Kristine (eds.), The Mythological Dimensions of Doctor Who (2010)
Campbell, Joseph, The Hero With a Thousand Faces (1949)
Dowden, Ken, The Uses of Greek Mythology (1992)
Petrie, WM Flinders, Methods and Aims in Archaeology, (1904)
Thanks to Scott Andrews, Debbie Challis, John J Johnston and Stephen Quirke.
(Will add more images and links when I have a chance.)
“With infinite complacency men went to and fro over this globe about their little affairs, serene in their assurance of their empire over matter. It is possible that the infusoria under the microscope do the same.”
HG Wells (1898), The War of the Worlds, p. 1.
“The man who knows and dwells in history adds a new dimension to his existence; he no longer lives in the one plane of present ways and thoughts, he lives in the whole space of life, past and present, and dimly future. He sees the present narrow line of existence, momentarily fluctuating, as one stage like innumerable other stages that have each been the all-important present to the short-sighted people of their own day”.
WM Flinders Petrie (1904), Methods and Aims in Archaeology, p. 193.
“The point of archaeology is to carefully recover the past, not disintegrate it.”
The Doctor (1989), Doctor Who: Battlefield.
SPHINX
1. UC14769 (IC13, 2nd from top): Part of base of a sandstone sphinx with 2 paws and cartouches each side denoting Seti I.
As Petrie argued, understanding the past helps to place the worries and wants of the present day in context. Archaeology strives to understand the past from the meagre fragments left to us. From the exquisitely crafted jewels and sculptures to the shards of broken pottery, collecting and comparing these fragments slowly brings the long dead back to life.
We know the fragment here shows the paws of a sphinx from comparison with other artefacts and sources. A sphinx is a mythological creature, often (though not always) having the body of a lioness and the head of a woman. Sphinxes are usually found “guarding” royal tombs.
Science fiction can also place the worries and wants of the present day in context by imagining things to come. HG Wells wrote what many consider the first science-fiction novel The Time Machine in 1895 when the British Empire reached across the world.
In the story, a Victorian inventor travels to the year 802,701 where he discovers that humans have died out. Instead, creatures called Eloi and Morlocks live in the shadow of an ancient monument, the only visible remaining trace of civilisation. Wells makes this ancient monument a sphinx, likening the fall of civilisation (and the British Empire) to the fall of ancient empires such as Egypt. The story – and these fragments of two paws – remind us that nothing lasts forever.
Several science-fiction stories show us future societies struggling to understand the fragments left of our own civilisation – often for comic effect. In the 2005 Doctor Who story The End of the World, for example, the Lady Cassandra insists that an old Wurlitzer jukebox is an ‘iPod’.
But there's a sadder connection between the fragments of the past and science fiction. The Petrie Museum holds scant fragments of one of the earliest-known copies of The Iliad. Doctor Who visited the events of The Iliad in the 1965 story The Myth Makers, a story that has since been deleted from the BBC archive. Fragments are left: a full soundtrack (released on CD by BBC Audio), some photographs from the set and a few seconds of low-quality footage.
RAT TRAP
2. UC16773 (Object by Site: Lahun, bottom): Pottery rat trap. Handle, one end and trap door missing - one enlarged air slit partly blocked with ancient plaster. (Originally identified as a coop for small chickens or incubator).
Archaeology and science fiction can both show us how similar we are today to the people of the distant past and future, with the same worries and wants. Here is a pottery rat trap from 1985 -1795 BCE. It gives a vivid sense of the kind of everyday problems faced by people 4,000 years ago. Beside the rat trap is a modern version of the type still in use across Africa. The suggestion might be that little has changed in all that time, that people will always be people. This can also be used to dramatic effect.
In the 2008 Doctor Who story The Fires of Pompeii, Caecillius is pretentious about art, worries about his son getting drunk and how his daughter is dressed. Though this is jokey to begin with, when the volcano Vesuvius erupts, the story is all the more effecting because we've seen these people are so like us.
In The Fires of Pompeii, the Doctor mentions meeting the Emperor Nero – as he does in the 1964 story The Romans. 3. Nero is named in the cartouche on the blocks UC14528 and 16516 (case IC16).
MINOTAUR and MEDUSA
4. UC14518 (case IC9): Limestone slab with bull-headed god, between parts of 2 other figures.
We tend to think of ancient civilisations existing in isolation – the ancient Greeks and Romans separate from the ancient Egyptians. But it's evident from finds made by archaeologists that ancient cultures traded with one another, and that ideas and stories spread. Myths were retold and reworked by different people, as they have been ever since.
Gene Wolfe's Soldier of Sidion (2006) is set in Ptolemaic Egypt, the third in a series about a Roman mercenary making his way through the ancient world but one where the ancient gods walk among the ordinary mortals. A rich, clever adventure, it dares suggest itself less “fantasy” as historical novel.
In the examples on display in the museum here, we can see that the ancient Egyptians themselves told stories featuring characters we traditionally think of as “belonging” to other cultures – such as bull-headed people (like the Minotaur from Greek mythology) and gorgons (like Medusa).
Many science fiction stories rework myths or elements of them. They might reveal that the gods and monsters of the ancient world were aliens or robots. They retell the ancient stories in space instead of Egypt or cherry-pick incidents or characters.
5. UC48468 (case PC 35): Terracotta medallion of a gorgon head; there are traces of white paint on the surface. The facial features are sharply moulded and the hair wavy with two entwined snakes at the top.
Medusa appears in the Doctor Who story The Mind Robber (1968), the Minotaur in The Time Monster (1972). The latter was released on DVD in March 2010 as part of the “Myths and Legends” box-set (BBC DVD 2851), along with two other Doctor Who stories that rework ancient stories.
SOUNDS FAMILIAR
Sometimes science fiction doesn't rework the myths so much as just borrow the names. For example, the Doctor and the Daleks briefly visit the pyramids in episodes 9 and 10 of The Daleks' Masterplan (1966).
(Episode 9 no longer exists in the BBC archive but episode 10 is included in the "Lost in Time" box-set, along with the few existing seconds of footage from The Myth Makers).
The three Egyptians who help fight the Daleks are named “Khephren”, “Tuthmos” and “Hyksos”.
Khephren takes his name from Chephren / Khafre (c.2558 - c.2532 BCE), the pharaoh who built the second great pyramid at Giza and whose face was the model for the sphinx that guards it. You can see a cuboid fragment from the second pyramid at 6. UC16043 (entrance case on right).
Tuthmos is derived from “Tuthmosis”, the name of several pharaohs in the 16th and 15th centuries BCE. Most notably, Tuthmosis III (1479 – 1425 BCE) was a military genius who massively expanded the Egyptian empire. A cartouche of his name can be seen at 7. UC14542 (case IC5).
The tomb of Tuthmosis III was excavated in 1898 by Petrie's contemporary, Victor Loret (1859-1946). The tomb (KV34) in the Valley of Kings included the first complete-found “Amduat” - the book of the Underworld. It is also, as Sarah Jane Smith tells the Doctor in the 1975 story The Pyramids of Mars, where an account is given of Sutekh's battle with his brother Horus.
Hyksos is named after the people from Palestine who ruled in Egypt in the 17th century BCE. Examples of pottery from their time and influenced by them include the black duck jug at 8. UC13479 (case PC27), with white incisions on display in the Pottery Gallery.
SEQUENCE DATING
The film and TV series Stargate (1994, 1997- ) explain that the myths and names of ancient Egypt derive from meetings (via gateways across space) with aliens. The hero of the film is an archaeologist and sarcophagi are used to resurrect people. In the film, the planet on the far side of the stargate is called Abydos, which is the name of the place where the tomb of Osiris is located and where this limestone stele 9. UC14488 (case IC2) was found.
The film shows us the “real” Egyptian gods Anubis and Ra. The TV series has also shown Apophis, Anubis, Ba'al, Hathor, Nirrti, Osiris and Seth – among others. It has also freely used names and events from other mythologies.
(By comparing the names and events of other mythologies rather than Egypt specifically, Stargate follows in a tradition of science fiction stories taking their cue from Joseph Campbell's 1949 book on comparative anthropology, The Hero With a Thousand Faces.)
The stargates and other technology in the series are made of an element called “naqahdah”. The name is reminiscent of Naqada, a town on the west bank of the Nile that Petrie excavated in 1894.
Whereas some archaeologists before him had been more interested in finding treasure and texts, Petrie carefully recorded everything he found, including the broken pieces of pottery on display in the Pottery Room. (Start at PC3 and also see www.digitalegypt.ucl.ac.uk/pottery/seqdates.html)
By comparing the styles of pottery itself and its decoration, Petrie developed a Sequence Dating system – a timeline of nine developments in Egyptian pottery. This could then be used to give approximate dates to any further finds made which contained fragments of pottery.
According to Petrie's system – and subsequent testing – the town of Naqada is one of the oldest in Egypt, with pottery found from 4000 BCE in the pre-dynastic period. As a result, the name of the town often appears near the top of any timeline. That may well be why the producers of Stargate chose it.
Like Stargate, a 2009 episode of the TV series Primeval suggested that the “gods” from ancient Egypt were real creatures. One of them chased through the Egyptian galleries at the British Museum.
SCARAB BEETLES
10. UC69860 winged scarab beetle (case L)
The way that scarab beetles rolled great balls of dung seemed, to the ancient Egyptians, like the way the Sun rolled across the sky. Perhaps the Sun, too, was pushed by a giant beetle. The beetle was therefore symbolic of time.
The beetles also ate the balls of dung and their young emerged from them – as if, the ancient Egyptians thought, they had been spontaneously created. The beetles were therefore also symbolic of regeneration.
Time and regeneration are, of course, quite important to Doctor Who. But beetles usually play a more sinister role in modern stories that loot the relics of ancient Egypt. In the 1999 film The Mummy, the tomb of Imhotep is guarded by flesh-eating scarabs.
The 1967 Doctor Who story The Tomb of the Cybermen reworks many familiar elements from Mummy stories in a science-fiction context. In the 1959 Hammer film The Mummy, actor George Pastell plays Mehemet Bey, worshipper of Karnak, who pretends to be a friend of the archaeologists then entreats the risen Mummy to kill them. In the Doctor Who story Pastell plays much the same part, but here he's a member of the Brotherhood of Logicians. Instead of scarabs, we are introduced to Cybermats, which poison and kill the archaeologists as the story requires.ANKH
11. UC43949 (case WEC9) Light green faience ankh inscribed on both sides of shaft with epithets and cartouches of Aspelta.
Egyptian gods are often shown carrying the ankh, also known as the “key of life”, the hieroglyphic symbol for eternal life. There are several different theories about what the ankh derives from. Is it meant to show a man and woman united under the Sun, or does it show the Nile at the centre of Egypt, the loop at the top representing the Nile Delta, or a penis sheath?
In Neil Gaiman's award-winning Sandman comics, the ankh is the symbol of the character Death. In the TV series Lost, several characters are seen wearing ankh pendants, while the giant statue of the hippo-god Taweret holds an ankh in each hand. (Lost is littered with Egyptian symbols and hieroglyphs, see http://lostpedia.wikia.com/wiki/Hieroglyphs.)
NEMES HEADRESS
12. UC14363 (case IC17) Head of mottled diroite (about 1/2 size) of King Amenemhat III, wearing Nemes head-dress and uraeus.
The distinctive striped “nemes” head cloth was worn by Egyptian pharaohs. The flaps of the head cloth taper out behind the wearer's ears and hang down below both shoulders. The golden mask of Tutankhamun and the great statues of Ramesses II are famous examples of pharaohs wearing the nemes. It was often worn with a “uraeus” or “cobra” on the forehead, symbol of royalty.
The space helmets worn by Viper pilots in the original Battlestar Galactica TV series (1978-9) were based on the nemes head cloth, subtly suggesting the links between the human refugees seen in the series and the “legendary” planet Earth they were searching for. The helmets featured a viper symbol instead of the uraeus.
The modern version of Battlestar Galactica (2004- ) has not retained the nemes-style helmets, but there are still occasional hints of the links between the refugees and Earth's ancient civilisations. For example, pyramids can be glimpsed on the colony planet Kobol.
Both the original and modern versions of Battlestar Galactica are available to buy on DVD.
MAGIC
13. UC36314 (case J): Hippopotamus ivory clapper, reconstructed from fragments, in form of right hand; incised bracelet band at wrist and ornate net pattern on arm.
There are many theories about the wands found, usually made of hippopotamus ivory. Hippopotamuses and elephants are dangerous creatures, so acquiring the ivory from a living animal may have been part of the ritual. The wands do not use all of the tusk, either, so each tusk may have produced a “family” of linked wands (not dissimilar to the families of wands in Harry Potter). Wands were clearly of great value. Some use ebony and other precious materials.
Little is known of Egyptian magic, which makes it ripe for speculation in horror and science fiction stories. The Book of the Dead is central to many stories dealing with mummies and resurrection. But Egyptian magic is also used to time travel in both Tim Powers' award-winning The Anubis Gates (1983) and Terry Pratchett's less serious Pyramids (1989).
SUTEKH
14. UC45093 (case IC7): Upper part of a green glazed steatite round-topped plaque incised with image of Seth standing, to his right a column of hieroglyphs 'excellent praised one, beloved of Seth lord of Nubt'.
In the 1975 Doctor Who story The Pyramids of Mars, the Doctor and Sarah Jane Smith battle the Egyptian god Sutekh – also known as Set or Seth. The inscription says that Seth was “Lord of Nubt”, the ancient name for Naqara (see above).
Though Seth was Lord of Nubt, the opening shot of The Pyramids of Mars uses stock footage of the step pyramid at Saqqara. A block, possibly an altar or the top of a pyramid looks like the Step Pyramid in Stonework: Statuary IC15 15. UC69838.
Sarah knows about Sutekh's battles with his brother Horus: she explains Sutekh was captured by Horus and “the 740 gods named on the tomb of Tuthmosis III”.
The story includes robot mummies, sarcophagi that transport people, a forcefield controlled by canopic jars, and sphinx-like riddles to get into the pyramid on Mars. It draws heavily on the 1959 Hammer film The Mummy, as did The Tomb of the Cybermen (see above).
While Egyptian mythology (and Doctor Who) is full of creatures that are human but for animal heads, unusually, the animal that provides Seth with his head is unknown to science.
HEROES
16. Portrait of Flinders Petrie by Fülöp László (1934). The old man in the picture might not seem a likely inspiration for Indiana Jones. Yet the traveller-archaeologists of the late 19th and early 20th centuries told exciting tales of the worlds they'd discovered – and the adventures they had in discovering them.
Indiana Jones, Rick O'Connell in The Mummy, Daniel Jackson in Stargate and the Doctor's future wife, River Song in Doctor Who have followed that lead. The archaeologist battles the odds to uncover strange and surprising artefacts that change how we see our own place and time.
Like detectives, they use the clues left behind (17. UC50615 Roman Terracotta Tower lamp, like the ‘TARDIS’ lamp on the altar to the household gods in The Fires of Pompeii), the battered artefacts and writings. They don't use them just to solve crimes but to build whole cities and empires and worlds. Exploring the real, ancient world turns out to be just as rich, strange and exciting as anything we can imagine in a story.
© Simon Guerrier, 2010
Primary sources
Battlestar Gallactica (1978-9, 2004-)
Doctor Who
- The Romans (1964) – BBC DVD 2698
- The Myth Makers (1965) – soundtrack available from BBC Audio
- The Daleks' Masterplan (1965-66) – episode 10 available on Lost in Time, BBC DVD 1353
- The Tomb of the Cybermen (1967) – BBC DVD 1032
- The Mind Robber (1968) – BBC DVD 1358
- The Time Monster (1972), included in Myths and Legends, BBC DVD 2851
- The Pyramids of Mars (1975) – BBC DVD 1350
- Battlefield (1989) – BBC DVD 2440
- The End of the World (2005) – BBC DVD 1755
- The Fires of Pompeii (2008) – BBC DVD 2605
Lost (2004-10)
The Mummy (1959)
The Mummy (1999)
Rowling, JK, Harry Potter and the Philosopher's Stone (1997)
Powers, Tim, The Anubis Gates (1983)
Pratchett, Terry, Pyramids (1989)
Primeval (2007-)
Stargate (1994, 1997-)
Wells, HG, The Time Machine (1895)
Wells, HG, The War of the Worlds (1898)
Wolfe, Gene, Soldier of Sidion (2006)
Secondary sources
Burdge, Anthony, Burke, Jessica, and Larsen, Kristine (eds.), The Mythological Dimensions of Doctor Who (2010)
Campbell, Joseph, The Hero With a Thousand Faces (1949)
Dowden, Ken, The Uses of Greek Mythology (1992)
Petrie, WM Flinders, Methods and Aims in Archaeology, (1904)
Thanks to Scott Andrews, Debbie Challis, John J Johnston and Stephen Quirke.
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