City Children

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Some movies are very difficult, if not impossible to classify.  City of Lost Children is one.  One label that seems to have stuck is steampunk, and I think that’s accurate.  A touch confusing, not least because it’s in French, it is visually stunning.  So, the lost children are kidnapped by a kind of mad scientist who cannot dream.  He takes the children’s dreams (with pre-echoes of Inception).  The initial dream sequence of multiple Santa Clauses could be horror—much of the film is unnerving, as well as disorienting.  This mad scientist is attended by a set of clones, a tiny wife, and a brain in a fish-tank.  Meanwhile, thieving orphans, controlled by women who are conjoined twins, steal valuables.  A circus strongman, One, sets out to find his kidnapped “little brother,” and finds the orphans.  He helps them on one job but one of the lead orphans, Miette, takes pity on him and tries to assist in finding his brother.

The brother is in the hands of the mad scientist.  Miette is nearly drowned but saved by an amnesiac submarine pilot.  She leaves to fine One, whom the twins tried to kidnap.  One and Miette team up once again to rescue “little brother.”  They find the mad scientist’s lair, but the submarine pilot is about to blow it up.  One and the children escape, but at the last minute the submarine pilot regains his memory and realizes that he was the creator of the mad scientist and clones, but he is blown up along with the lab.  Accompanying this there are striking visuals in a world that is a cross between Existenz and The Matrix, but with steampunk overtones.  I suspect multiple viewings may be needed to get it, but the cinematography would make that a pleasure.

The cyclopses (did I mention them?) are the religious part of this world.  They believe in the plucking out of eyes in order to see.  This they do with eyes from the scientist and the cyclopses, in turn, capture the children for him.  Their religion is violent but somewhat biblical.  Although this is an alternate universe, it’s one where such features as religion might cross over.  Often religion is neglected in world-building, even though it comes naturally to our species.  It’s easy to get lost in this kaleidoscopic world.  Even so, you come to care for One and Miette and the value of loyalty.  Funny, creepy, confusing, and emotional, City of Lost Children is a movie that has to be seen to be believed.

Dark Lite

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Maybe you’ve noticed it too. While certainly not universal, many forms of Gothic cultural expression (novels, movies, television, etc.) have a playfulness to them. As if taking the genre too seriously might be a misrepresentation. Even Edgar Allan Poe can be caught smirking from time to time. I’ve often wondered about this unusual combination of darkness and light. Catherine Spooner obviously has too. In Post-Millennial Gothic: Comedy, Romance, and the Rise of the Happy Goth she takes on a number of these cultural expressions—both Goth and Gothic—and tries to understand the lighter side that they often present. Sometimes it’s comedy and sometimes it’s irony, but those fascinated by darkness aren’t always as gloomy as they seem.

This book is a real hodgepodge of both British and American explorations of the smiling dismal. It’s a cultural contradiction, maybe, but it certainly feels authentic if you look closely enough. Although Spooner doesn’t discuss it directly, I couldn’t help but think of that great progenitor of the Gothic—the medieval church. Perhaps it was the very real fear of the plague and the nearly constant warfare of the time in Europe, but liturgy, when done right, has a palpable darkness to it. References to ourselves as “miserable sinners” begging God to “have mercy upon us” clearly call to mind some of the deeper elements of the Gothic sensibility. Having attended Anglo-Catholic services for years I came to know many who were compelled by this intensity. A Gothic chasuble is a thing of beauty forever.

Spooner, however, focuses on popular culture. Beginning with the Goth movement of the 1980s, a subculture formed that brought much of this darkness to light. She’s careful to point out that being Goth isn’t the same as being gloomy all the time. It is an expression of creativity, and, as Spooner notes, closely associated with Steampunk. Such things, however, require a recognition on the part of participants that in order to taken seriously, such expressions must become part of daily life. There are risks, however. Even in enlightened cultures we are not yet fully tolerant of those who are different. And really, much of the book is about this—accepting those who are not like ourselves. There is quite a bit going on here that’s beneath the surface. And depth is something the world could use a bit more of. There’s nothing wrong with having some fun while acquiring it, either.

Time in a Museum

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Over the weekend we visited the National Watch and Clock Museum in Columbia, Pennsylvania. I became aware of the museum during one of my steampunk phases, and since we were running out of summer, it seemed the ideal time to go. I didn’t know what to expect, but it certainly wasn’t anything quite so profound as what we actually found. Time, as we now know, is relative. In fact, up until just two centuries ago, nobody really knew what time it was. Well, maybe those people in Greenwich did, but the average person, even if s/he owned a watch, lived on approximate time. Try telling that to any boss today! The need for people to meet trains at various stations led to the standardization of time in the United States. Now the government declares official time, kept by atomic clocks. You could be a billionth of a second late for work and Uncle Sam would know. What happened to the days of looking for when the sun was directly overhead and guessing from there? Greenwich Mean Time indeed.

Time in inherently religious. For human beings, conscious of its passage, it is a limited commodity. Our concerns for our personal A.D. (“After Death” as the misnomer used to go) have led to religions suggesting that God, or gods, take a special interest in the passing of time. That became clear from the first display in the museum. Hardly a placard existed without some reference to the gods—people knew that time was somehow divine. Not only that, but the passage of time was punctuated by religious observances. Even such things as deciding when to harvest your crops could lead to religious revelations. Besides, time was set in motion by those ageless beings known as gods, and they mandated on-time performance. The ability to influence time was far beyond human capacity, thus deities informed us how to handle it. Into the Medieval period clocks maintained a regular array of religious imagery, reminding the user that this is the ultimate non-renewable resource.

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It was almost overwhelming, being surrounded by so many clocks. I remember being a young man—indeed a little boy—when time seemed to be in infinite supply. Religious observance was always a large part of that pool. Here I stood, a middle-aged man, spending my time pondering time. All the while, it was passing. Time is measured by regularity. Uniformitarianism is the geologic principle that informs us of the age of the earth itself. Beyond that, we’re told, the universe—so long ago—had its own beginning and anything that has a beginning will inevitably have an end. Such sobering thoughts amid the beautiful timepieces that so many spent their lives crafting. Now we only need glance in the corner of our computer monitors, or pull out our phones to glance the time. Taking a bit of it is wise, it seems to me, to explore our fascination with time itself. There is an air of eternity about the very enterprise itself. Well worth a summer’s day when forever is in your rear-view mirror on the way home.

Non-Fiction Steampunk

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TheVictorianInternetThe histories of Tom Standage approach familiar things from unfamiliar angles. Being interested in Steampunk, and a daily user of the internet who has trouble recalling what life was like before then, I found The Victorian Internet fascinating. Subtitled The Remarkable Story of the Telegraph and the Nineteenth Century’s On-line Pioneers, the story of the wiring of the world did resonate in any almost eerie way to the early days of the world-wide web. Despite my disclaimer, I do recall those days clearly when the only way someone could get in touch with you immediately was the telephone, and you had to be at home for it to work. Prior to the telegraph, news traveled even slower and you could go months without hearing from those closest to you, if they happened to be away. Samuel F. B. Morse knew that first-hand, as Standage tells it. His wife died while he was out of town, and although he rushed back right away upon hearing, she had been buried before he reached her. Such was life when news arrived only by letter. Morse was among those who invented the telegraph, a device that made the world realize that yes, it was possible to send information to distant places almost instantly. It soon become a wired world.

Standage is also more circumspect than some writers who declare, with breathless awe, that some new device will cure the world’s ills. Showing how the telegraph generated much the same hyperbole as the internet (that peace would reign now that people could communicate instantly, that technology had brought a miraculous rapprochement, etc.) he notes that people remained people. Wars continued—intensified, in fact, into World War One where technology was devoted to destruction. People had always been able to kill each other. Now they could do it faster, and in more hideous ways. Still, there’s no denying that once the idea of instant communication caught on that we would continue to develop it rapidly. You never need be away from a network that covers much of the developed world and you can talk on your phone from deep under the Hudson River to the top of the Empire State Building. You can order a pizza from anywhere.

Ironically, Morse dedicated part of his earnings to endow a lectureship concerning how science related to the Bible. It was clear that technology had achieved the impossible (okay, well, the improbable) and yet, Victorian society still relied on the truths contained in Scripture. The telegraph, which began with the words, “What hath God wrought,” ended with the attempt to figure out how the Bible fit into all this. Just because humans had crossed the great barriers of oceans with electric cables didn’t mean the Almighty was out of a job. Even today God can be found on the internet. Along with many other choices of distraction and business. God is not so much dead as commodified. The difference between Morse’s day and ours was that then they knew that the Bible impacted daily life. It continues to do so today, but we’ve become too sophisticated to give it much of a nod. We might be well served, however, to look back once in a while as well as to look forward. We might be surprised at how little things have changed.

The Joy of Tech

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In the age of Steampunk, New Jersey is among the world capitals. Indeed, today is the second day that the International Steampunk City will be inhabited in Speedwell, home of the telegraph. For yours truly, Steampunk is an escape. Alternate realities often look better than the pedestrian one we’ve inherited, so we like to look at the world through steamy lenses and imagine how it might have turned out differently. New Jersey, in the spring, also hosts the Steampunk World’s Fair. Perhaps we have more pressures to escape here in the Garden State. Imagination is certainly in no short supply. I attended the International Steampunk City last year and decided that I’d like to be a part of it. Knowing a thing or two about ancient technology, I thought I might share a bit with the Steampunk crowd. What is Steampunk without tech? Some ancient technology, although not very well known, is perhaps of even greater influence than we might imagine.

One of the connections that is easily misplaced in this era of purely scientific advance, is that technology was devised in the service of religion. At least in the early days. The greatest architectural achievements came under the aegis of temple building. Domes, arches, and eventually flying buttresses that could hold tons of stone high over your head—these were to please the gods. We can’t imagine Stonehenge as anything other than a capitalist venture these days, a way of drawing in the money. Of course, ancient builders knew of the financial benefits as well; temples were often the equivalent of ancient banks. Still, beneath all the pride of accomplishment there was the belief that the gods were somehow pleased with our innovation. Perhaps we’ve just done away with the convenient myth. Steampunk often has a religious underpinning. Many of the stories I’ve read touch on our ancient mythologies. Only, in fantasy, there are different possible permutations.

We sometimes think that technology is a modern phenomenon. Actually, it is quite ancient, as far as human culture goes. The first “computer” was invented around about the first century. Since it didn’t have an obvious benefit to the control of the masses, however, no technological revolution took place. The steam engine was, in nascent stages, invented also in ancient times. Until we learned, however, that it could be enslaved to make certain industrialists rich, we had no need for it beyond a diverting toy. Technology does not take hold without a deeper purpose. Every now and again I get a little paranoid knowing that I carry a telephone that knows my exact location at all times. As if I were important enough for anyone to care. Then the feeling passes and I open my iBooks app and turn to my latest Steampunk novel. I am a slave. I wonder what innovations there will be at International Steampunk City this year that might change the world. Only the imagination will limit the possibilities.

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Religion, Technically

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Technology World HistoryOne of the truths of history is that technology has always been with us. Reading Steampunk stories always boosts my historical sense of the interaction of technology and civilization. Civilization, to the best of our knowledge, coalesced around the idea of religion. Kings rule at the behest of gods because, if it came down to just a matter of swords and games of thrones, there’s always somebody who’s willing to die for the sake of challenging authority, or taking it over. Unless the gods give it to someone. With this in mind I read Daniel R. Headrick’s Technology: A World History, a brief exploration into how we progressed to a hive mind (not his word) through smartphones from an initial band of scared apes two-footing it across the savanna with pointy rocks. The whole trip may have taken millennia, but once we reached a couple of flash points (the “Big Bang” of about 70,000 years ago when abstract artifacts began to appear, and then the birth of civilization about the time Sumer was organized) things sped up at a dizzying pace. Despite the anti-science rhetoric of the Religious Right, there’s no denying that we’re not in Eden any more.

We are accustomed to think of technological development as being cold and rational. Trial and error, based on brute mental power willing to bully through the dark forest of superstition, leading us to new heights. But from the early technology that led to Stonehenge and the pyramids to the coded message “What hath God wrought?” religious wonder has stood behind technological development. Indeed, in reading Technology it became clear that up until very recent times scientists got along with god, and sometimes even shared the credit for the devices they created. Reading about the Antikythera mechanism had me thinking along these lines: if someone had invented a kind of computer millennia ago, why didn’t it transform society in the first century before the Common Era? The answer can’t be that it sank beneath the Mediterranean, because other such devices likely existed. Why no Roman Empire Industrial Revolution?

Headrick makes it clear that early societies sometimes did not promote technologies. Technology was not just a matter of what we could do, but it was a means of social control. Those who charted the flow of wealth and power would have interest only in technologies that enabled the continued growth of that system. All the rest was just icing. People knew the basics of electricity long before a practical use was found for it. Petroleum products were known even to the Sumerians. The wheels of industry, however, are greased by more than just oil. We construct worlds, and gods used to direct our efforts. Now we let our technocrats call the shots. We write blogs wondering how religion fits into a nano-tech world. There may be some logic in it, but once we’ve left our footprints on the moon—who used to be a god—we’ve replaced the deities in the celestial sphere with those in our own heads. And there’s no going back.

Infernal Religions

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infernalDevicesThe first steampunk novel I read, although some would dispute the classification, was Neal Stephenson’s The Diamond Age. To be sure, I’d noticed other Victorian-style science fiction, but the idea of prescient technology settled into my head to nest for a while. I read a few other exemplars of the genre, finding each interesting in its own right. Having just finished K. W. Jeter’s Infernal Devices, however, I get a sense that I’ve neared the fount. Jeter is generally credited with coming up with the neologism “steampunk,” and this novel, while not his first, is fascinating for the heavy religious symbolism that is used throughout. In our secular, post-Christian age, we tend to forget that in the nineteenth century (actual, if not alternate reality) religion still played a tremendous role in people’s lives and outlooks. Infernal Devices uses that outlook quite effectively. The remnants of Cromwell’s puritan cause appear as the Godly Army, set against science and technology in a society still imbued with religious belief. When a flying machine appears overhead, the Scots suppose it is the beast of Revelation harbinger of the world’s end.

Like most steampunk offerings, Jeter offers us plenty of mechanical wonders. The hapless Mr. Dower, our protagonist and narrator, is the son of a mechanical genius, now deceased. The story involves Dower trying to unravel the many strands his father wove in a lifetime of invention and innovation. The one device that stood out to me, however, was the automaton priest and choir of Saint Mary Alderhythe, Bankside. Dower’s father had invented a robotic priest to go through the mechanical motions of an Anglican mass. Having sat through hundreds of such masses, I could see the point he was making. There are variables, but the overall draw of ritual is, well, its ritualism. The sameness that assures an assuaged deity and a safe congregation. The Godly Army, however, is more revisionist in intention.

Jeter, I’m sure, did not intend for the novel to be read for religious truths. It is rollicking and fun, with characters that you can’t believe but you want to. The driving force, however, behind much of the story is the religious bias of elements of London society. Dower, blamed for vices he doesn’t really have, is chased from his home by the Lady’s Union for the Suppression of Carnal Vice. The Godly Army, however, steals the show. Perhaps the most profound observation comes from Scape, who quips “That’s what you get.. when you give people Bibles and guns,” about the Godly Army. “It just messes up their brains.” At this point I began to wonder whether the story were really fiction after all. In this case the truth indeed perhaps lies in steampunk’s alternate history.

In Our Own Backyard

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That monk walking towards me looks a little suspicious. Perhaps it’s that guy with a top hat and weird gun strolling next to him with a waxed mustache and carefully sculpted beard. Like a page ripped from ComicCon, the Steampunk World’s Fair draws people from all across the east coast (perhaps even further afield) to Piscataway, New Jersey, or some venue near Rutgers, every spring. In a world where work routinely stifles creativity, a weekend of subculture is about as good as it gets. As a veteran of over two decades of Society of Biblical Literature meetings, I’m used to large conferences. Only this is much more fun. The Steampunk World’s Fair draws some 4,000 people, most of them baroquely costumed, to a sleepy corner of an overly developed industrial corridor, courtesy of Jeff Mach and Widdershins LLC. I met Jeff Mach at Steampunk City last October. A natural promoter, he has a way of getting events noticed.

Steampunk is more than a literary genre. It has become an eclectic mix of the technical and supernatural, the scientific and the absinthe-laced dreams of fantasy. An element of H. P. Lovecraft fandom is clearly present at the World’s Fair, as is an interest in Victorian spiritualism. Indeed, it would not be difficult to concoct a religion out of this heady brew. Like most human cultures, there is no pure form here. Vendors will be glad to accept your money, but true artists put great effort into unique pieces of creativity and style. I’m here, not feeling entirely safe surrounded by such strangeness, wondering if this isn’t a natural outgrowth of what happens when a technically oriented society too long denies its emotional subtext.

Role-playing is catharsis. Many of us spend our days feeling relatively powerless in a capitalistic system that is overwhelming and stifling. Thomas Piketty meanwhile suggests that extreme economic inequality leads to a breakdown of a system that favors too few. Although restraining himself from the economic implications, Frans de Waal notes the same phenomenon among primates that we insist on calling lower than ourselves. Bread and circuses, we know, only kept imperial Rome going for so long before it collapsed under the weight of inherited greed. Under great pressure, the people will play. This feels a bit heavy for the Steampunk World’s Fair, however. I can’t recall the last time I saw robots rubbing elbows with bearded, cross-dressing nuns, and nobody thought any of this was out of the ordinary. Or maybe it’s just the absinthe-flavored truffles talking. I know where I will be, in any case, come next May.

A typical sight.

A typical sight.

Steampunk Messiah

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HomunculusSteampunk emerged as a genre of science fiction just as I was finishing seminary. It went largely unnoticed as I continued my “serious” academic work, with my first introduction being Neal Stephenson’s The Diamond Age. Since then, I’ve picked up the occasional Victorian tale and enjoyed an escape into an alternative history. Most recently that escape took the form of one of the originals of the genre, James P. Blaylock’s Homunculus. Considered to be one of the first exemplars of the emergent literary type, it has rollicking, free-wheeling tone—full of strange characters who are attempting to find various hidden treasures. One of those characters is a latter-day prophet by the name of Shiloh, who believes himself the new messiah. Since, as an emerging genre, no rules had been established, steampunk was free to cast whatever characters it found intriguing. A religious fanatic who often drives the action through his own need for self assurance is a tried and true actor in any literature that considers what motivates the masses. Firmly in the cast of “bad guys” in the story, Shiloh patronizes the mad doctor who’s experimenting with reanimating the dead. And Blaylock manages to squeeze a bit of profundity into the role as well.

Nevertheless, the character with the best quote is the ambiguous Bill Kraken, on the side of right, generally, but deeply flawed. In a conversation about immortality, he says “I’m a man of science and the spirit both, and I don’t trust to neither one entirely.” In this he sums up the dilemma of the honest individual who takes science seriously, but who knows that science can’t completely encapsulate the human experience. He trusts science, but Kraken has seen the living dead. There’s an alchemy at work here, and that box he carries on his lap houses the very homunculus that gives the book its title. An alien, actually, the homunculus is sought after by Shiloh, who supposes him to be his father. It is the homunculus who animates the dead and flummoxes the scientists.

Fiction often leads us where fact simply cannot. I strongly suspect that Blaylock had no moralizing message here, other than perhaps to beware of fanatics, and yet a message remains to ponder. That which we seek the most is that which most wishes to escape us. In the end neither scientist nor religious aficionado ends up with the homunculus under control. This is an alternate reality, after all, and the limits of human experience remain untested. Perhaps such bright thinkers as Galileo, Newton, and Einstein had it right. Perhaps the universe in which we find ourselves is not either-or, but both-and. It was our religion that brought us to science, and it is sometimes our fiction that points to the facts.