Reading Week: "Them! THEM!"

Robert Graham: And I thought today was the end of them.
Dr. Harold Medford: No. We haven't seen the end of them. We've only had a close view of the beginning of what may be the end of us.

Them!

Following our book store visits (and a quick lunch break in a crowded biker bar) Karli and I do a driving tour through the northern half of Joshua Tree National Park.

Looking out at the arid landscape, it takes me a minute to realize why it feels unexpectedly familiar:  it's the same desert backdrop featured in the classic 1954 science fiction film Them!  The movie is set near Almogordo, New Mexico, site of the first atomic bomb test in 1945, but was actually shot near Palmdale, about 120 miles from where we are.

Them! isn't the first atomic radiation monster movie - the preceding year's Monster from 20000 Fathoms takes first place - but it's certainly the first to introduce the possibility of giant radioactive mutant insects.  Released in the same year that Japanese movie makers first unleashed Godzilla on the world, Them!, like Godzilla, is a cautionary tale about the dangers released from the new Pandora's Box of atomic energy, and sets the standard for these films, in which science is both the villain and the hero.

Considering its subject matter, Them! is oddly plausible in its slow build from two police officers finding a traumatized little girl wandering alone in the New Mexico desert, through to the final battle with a nest of giant ants in the storm drains beneath Los Angeles.  The movie creates an air of suspenseful menace by delaying the reveal of the giant ants themselves, relying instead on the shrill keening noise made by the gigantic insects to suggest their presence.

The giant ants themselves are a bit of a weak point, at least by modern special effects standards - I can only guess how the original audience reacted to the giant ant models. The practical effects look somewhat clumsy and obvious now, but the scene where we first see the giant head and mandibles of an enormous ant appearing out of a sandstorm behind an unsuspecting victim is still an effective piece of filmmaking.  Later there's an equally effective moment where the scientists, having found the ants' nest, see one of the giant creatures carelessly tossing away a human ribcage.

The cast features a grim James Whitmore as police sergeant Ben Peterson, and James Arness as the FBI agent assigned to the mystery, with Edmund Gwenn as Formicidae expert Dr. Harold Medford and Joan Weldon as his daughter, Dr. Patricia Medford, originating in this movie the part of the female scientist who also occupies the role of chief screamer when necessary.*

 

The movie also showcases Fess Parker as a bewildered small plane pilot who thinks that he has seen UFOs shaped like huge flying insects**, and a startlingly young Leonard Nimoy makes an uncredited appearance as an air force sergeant.

One of the great strengths of this movie is the absolute seriousness with which the premise is handled, with the exception of a few quips in the dialogue that actually feel a bit misplaced due to the earnest nature of the rest of the script. Them! is actually plotted more as a mystery than a horror movie, with the first half aimed at solving the enigma of missing and murdered people and stolen sugar, and the second half dedicated to discovering the whereabouts of two queen ants who have left the original nest before it was destroyed. 

In spite of the numerous films dealing with the horrifying possibilities of the atomic bomb, none of these monstrous nightmares appeared in the real world over the succeeding 74 years.  In some ways, it's a shame - the appearance of a few giant insects or a giant lizard breathing radioactive fire might have had a salutary effect on early arms limitation treaties.

- Sid

* Monsters Versus Aliens does an excellent little sendup of this particular trope.

** It says a great deal about the mindset of 1950s America that he doesn't think he's seen huge flying insects, but rather UFOs that look like insects.

Reading Week: "See you, Space Cowboy."

Today's plan is to do a day trip to Joshua Tree National Park, located just north of Palm Springs.  As always when I travel, I've done a search for used bookstores, and to my happy surprise there are not one but two science-fiction intensive shops located close to the northern entrance to the park: Raven's Book Shop and Space Cowboy. 

Raven's Book Shop, located on Highway 62 near the small community of 29 Palms, is a collector's dream, and a bit of a cautionary tale in terms of curating a used bookstore.

Inventory management is a key element of operating any kind of store.  However, unlike most retail outlets, used book stores depend on the kindness of strangers to replenish their stock, picking and choosing from the books that cross their threshold rather than picking things out of a catalogue.*

The key part of that sentence was "picking and choosing".  There are two traditional traps that await the owners of used book stores:  the wrong kind of inventory, or too much.  I can look at the science fiction shelf in a used bookstore and tell you instantly whether or not they know anything about science fiction - basically, the more Dragonlance and Star Wars novels, the lower their knowledge level.

 

The other problem is overstocking, and as the owner of a substantial library, I'm sympathetic with the people who fall prey to this particular sin.  After all, there are so many books of interest, and it must be very hard to say no to someone who walks through the door with a particularly noteworthy volume for sale.  The trick is to make sure that you sell as many of these books as you buy, or else you run out of room and your store begins to look a bit like the bookshelves in my spare bedroom.

The second we walk into Raven's, it's obvious that they've lost the battle in terms of saying no, but they've lost another kind of battle as well. A lot of the shelves are double stacked, and there's a pile of books at least three feet tall behind the front desk. (You can see the edge of the mound in the photo above.)  But not all the shelves are full, and it looks a bit like new acquisitions have been dropped anywhere convenient rather than appropriately sorted and shelved.

Working my way through the stacks, I'm a bit puzzled by the pricing structure.  Prices seem to be all over the map, with some books priced quite affordably, but other similar books a bit at the high end of current used book pricing.  Regardless of pricing, the selection is impressive - there are a lot of books here, but they've certainly been well chosen.  Karli has generously told me that she's prepared to wait for as long as I want to stay there, but it's obvious that I could spend the entire day if not a full week going through the shelves, and we still have another store - and a national park - to visit today.

As such, I'm not too choosy in my selections, and fairly quickly put together an acceptable handful of books: Adam Link - Robot, a collection of Golden Age SF Eando Binder stories published by the Paperback Library in 1965; one of the excellent New Writings in SF collections, edited by John Carnell; a first edition 1966 paperback copy of Starswarm, a short story collection by Brian Aldiss; and a trio of Ace Doubles for my collection.

As I'm preparing to make my way to the front and settle up, Karli glances up and notes a large fuzzy ball on the shelf over our heads. "Probably a tribble," I comment, which turns out to be prescient.  As I look up at the shelf, I see that there's also a tall stack of the Bantam Books paperback editions of the Star Trek original series script adaptations written by award-winning science fiction author James Blish.

 

They're a bit of a collector's item, and although they're not in mint condition, I'd expect them to cost somewhat more than their $3.50 cover price, even if it is in US dollars. Numbers 2 and 12 are missing**, and might even be buried somewhere in the stacks, but we're on the clock, so I just pick up the visible copies and head to the cash register.

Significantly, when the owner is adding up my purchases, she comments that the Star Trek books have probably not been looked at or repriced for 20 years, which pretty much says everything that I need to hear regarding the uneven pricing, but leaves me wondering what the story is behind the store. Inherited, perhaps, and kept open as a labour of love?  Regardless, it's a bit of a "start the car" moment for me - Karli is more than a little amused by the happy noise with which I celebrated my purchases once we were safely back in our vehicle.

Comparatively, Space Cowboy, located in the town of Joshua Tree, is the epitome of a well-curated used bookstore. The shop has a modest footprint, but it's well laid out, and has an impressive selection of classic novels, which have been conveniently pulled off the shelves, bagged and hung on the walls, much like particularly collectable issues in a comic book store.

 

I leave Space Cowboy with a smaller stack of books - not due to lack of attractive options, but purely out of restraint:  having already spent over a hundred dollars on used books at our last stop, it seemed practical to keep the rest of my purchases under control - not to mention the looming threat of overweight baggage charges.

For sale at Space Cowboy: a triptych of Beverly the Madonna and the Blessèd Wesley, worshipped by the twin angels
of Emotion and Science. Originally I thought Data was wearing a yarmulke, which would have been a bit odd
for a devotional painting of this type, but then I realized it was a glimpse of his positronic brain.

Several of them are replacement volumes - their copy of The Wizard of Senchuria/Cradle of the Sun, another Ace Double, is in much better shape than mine, as are paperback copies of The Metal Monster and The Ship of Ishtar, two classic novels by American fantasy author A. Merritt.  Originally written in the 1920s, they were reprinted by Avon in the 1960s and early 70s as part of the Tolkien-influenced fantasy boom that saw the revival of a wide variety of vintage material at around that time.  I also pick up a pair of classic Robert A. Heinlein books: Assignment in Eternity and Waldo: Genius in Orbit, an odd variant edition of Waldo and Magic Inc. from 1958.

Overall, it's been an excellent day for book purchasing, if not for my already crowded shelves at home.  Next, Joshua Tree National Park...and Them!

- Sid

* Well, presumably not ordering from a catalogue.  I've always been a bit curious as to how a used bookstore gets started - it seems to me that buying enough used books to stock a new store would be a net loss approach to the process, although ultimately, as with any store, logic would suggest that the idea is to mark up your stock.  I certainly have enough books in my spare bedroom to start a small shop, compared to, say, the inventory at Space Cowboy, but that feels a bit like starting a clothing store by raiding your own closet.

** I've owned a slightly worn copy of Number 6 in the series since grade school, but to my intense happiness, when we got back to Vancouver I discovered that I'd picked up a copy of Number 2 at some point over time, nicely filling the gap in my new acquisitions. And Number 12s of any series are always easier to find than Number 2s.

Reading Week: "It was a pleasure to burn."

As I mentioned in an earlier posting, Karli and I are taking a break in Palm Springs this week - well, Palm Desert, to be accurate, at a rental condo in a gated community, with easy access to a shared pool and hot tub. Generally my vacations tend to be migratory, to the point that I've gone on trips where I didn't sleep in the same bed twice, but this trip is intended to be more about relaxation than exploration. As such, I'm looking forward to spending some time with the written word over the course of the week.

After picking up our rental car, we've stopped off at Target to do some casual shopping and pick up some supplies.  As we wander through the store, we stop at the book section, where Karli selects a Jodi Picoult book for poolside reading.  To my surprise,  there's a trade paperback copy of Ray Bradbury's 1953 classic Fahrenheit 451 on the Sale shelf, which I instantly add to our basket.*  There’s a kind of casual irony in purchasing this book here - one feels that in Bradbury’s future of outlawed books, Target would be the last place you would find any work of fiction, let alone this one.

Reading the book over the course of the day (it's a quick read at 158 pages, the bulk of this particular printing is made up of commentary) I'm impressed by the poetic brilliance of Bradbury's style, as always.  I'd also forgotten the tragic feel of the novel.  As per Thoreau, Fireman Guy Montag leads a life of quiet desperation, flat and colourless: isolated from his wife, apparently without friends, doubtful of the rightness of his vocation as a fireman who starts fires rather than stopping them, almost indifferent to the ongoing state of war that stands as a constant background.

Fahrenheit 451 is a conflict between two philosophies: thought and complacency.  To Bradbury, the elimination of books is the elimination of thinking, and with the loss of thought, the end of dissent and freedom.  All that is left is the shallow and trivial televised world that obsesses Montag's wife Mildred and her friends, and insulates them from anything that might make them question the status quo.

Regardless of whether or not this is a future that we might ever actually see, this book strikes very close to home for me.

Why?  Because I would undoubtedly be one of the criminals caught with a hoard of illegal books, one of the people who ends up in jail after their library is reduced to charred ashes, swirling in the wind around the skeletal remains of their home.  Or would I refuse to surrender, like the nameless woman who contemptuously stands her ground and dies with her books?

More likely, I might well be one of the quiet rebels who abandons society to live in the woods, becoming a sort of living edition of a memorized book.  Imagine being the last copy of The Lord of the Rings...

- Sid

* Considering that I own between five and six thousand books, you might be surprised that I don't already own a copy of Fahrenheit 451, but there are a few classic science fiction novels that I read early in my fandom and never added to my library.  For example, I don't own a copy of Brave New World, although it's probably time for a reread.  In this case, when we returned to Vancouver, I ruefully discovered that I actually did own a copy of Fahrenheit 451, the 50th anniversary paperback.  Now that I have that and the commemorative 60th edition, hopefully I can skip buying the 70th anniversary issue in 2023.

Reading Week: "All of time and space..."

 

SARAH: It wasn't Croydon. Where you dropped me off, that wasn't Croydon.
DOCTOR: Where was it?
SARAH: Aberdeen.
DOCTOR: Right. That's next to Croydon, isn't it?*

Doctor Who, School Reunion

CLARA: This isn't my home, by the way.
DOCTOR: Sorry. I'm sorry about that. I missed.
CLARA: Where are we?
DOCTOR: Glasgow, I think.

Doctor Who, Deep Breath

As someone who is generally a bit cautious about public displays of fandom, I have a certain admiration for the Palm Springs Uber driver in front of us, although I'm not sure that the Doctor is the best example to follow in that line of work.  True, he does frequently give people rides, but I think that most Uber clients have a sort of general expectation that they'll be dropped off at the right destination, not to mention the right century.

- Sid

* For those of you unfamiliar with Croydon - or Aberdeen - they're about 600 miles apart. By intergalactic standards, this is actually unbelievably accurate.

Reading Week: "Please put all electronic devices on airplane mode."

Saturday morning in Vancouver, and Karli and I are sitting on the tarmac at YVR, waiting to start a one-week getaway in sunny Palm Springs, a welcome break from the uncertain weather of British Columbia in the spring.

Although I do a lot of casual travel reading on my iPhone, I like to have a paper book for planes - flight attendants seem to be happier if you're not using your phone at takeoff, airplane mode or not, and it's also a good opportunity to catch up on some reading.

My seatmate on the aisle side is perusing The Untethered Soul, a New York Times best seller from 2007 -  not exactly current, but a far cry from my 1960 vintage Badger Books paperback copy of The Brain Stealers*, by Murray Leinster, which I pulled out of my tsundoku stack for the trip, along with a couple of other selections that caught my eye.  By some standards, this might be a valued antique, although it's hardly in mint condition, and only cost me a pound or thereabouts last year at a used book store in London's Portobello Market.

As is common with books from this era, the cover has absolutely no relationship to the story:** I have no idea who the glowing woman is supposed to be, and the villains are globular pink bloodsucking alien mind parasites (think Wilson with little fangs).  The hero of the story protects himself from their mind control powers with a cap made out of coiled iron wire while he builds a brain jamming machine to defeat them - tin foil has been available for hat creation since 1910, but you can't always depend on being in the kitchen when crunch time hits.

Looking casually around the plane, it occurs to me that you rarely see anyone reading a notably old book in public.  I can't be the only person with a nostalgic affection for classic novels, but even being a bit of a collector aside, I don't think I've recently seen anyone on a plane flipping through The Godfather, Jonathan Livingston Seagull, The Hotel New Hampshire, or any of a hundred different best sellers from the past.  It may just be that fame is fleeting, and that the general public will read a book once on vacation and then donate it to Goodwill or a book donation bin for hospital libraries, or maybe drop it off at a used bookstore, where someone like me brings it home to complete the circle twenty years later - or, in this case, 59.

- Sid

* Which, oddly, contains four pages of advertising, including a fascinating opportunity to purchase Joan the Wad, "Queen of the Lucky Cornish Pixies", and offers to both increase and reduce your bust using a "harmless vegetable cream" - well, two different creams, to be clear, it would be asking a lot for one product to provide both of those services.

**  There's actually a sound economic reason for this.  Pulp magazine and book publishers would often contact an artist and order generic paintings in bulk, then somewhat randomly assign them to covers.

"Gentlemen, we're history."

"I believe our adventure through time has taken a most serious turn."

Ted, Bill and Ted's Excellent Adventure

There is nothing worse than an incomplete trilogy.  Imagine if The Matrix had been a stand-alone film, Tobey Maguire hadn't made Spider-man 3, they'd skipped the third Terminator installment, or The Hobbit had only been long enough to make two films rather than three.

Hmmm...

Okay, maybe not the best examples, but still, it's important to have closure, and as such it was both a pleasure and a relief to learn that Keanu Reeves and Alex Winter are finally re-uniting to complete the Bill and Ted Trilogy, as per the world's least pretentious YouTube™ movie announcement a couple of weeks ago.  Production on Bill and Ted Face The Music is slated to begin production this summer, with a tentative release date of summer of 2020.

The events of the second film don't really leave any room for a follow-up, but as we all know, time isn't a strict progression of cause to effect, it's more like a big ball of wibbly-wobbly, timey-wimey stuff.  As such, Bill and Ted's future is not set, and there is no fate but what they make for themselves*.   In other words, anything can happen, which is a pretty bodacious position to be in when writing a movie.  If reunited creators and writers Chris Matheson and Ed Solomon can match the unexpected depth and quality - dare I say excellence - of the first two movies, the results could be just as much fun.

However, "fun" may not be a given, and the story could easily take a most serious turn, as per the opening quote. There's a bittersweet aspect to the whole idea of revisiting the Wyld Stallyns:  in the real world, it's been 28 years since William S. Preston Esq. and Theodore Logan had their Bogus Journey, and in spite of the running Internet gag about Keanu Reeves not aging, both he and Winter are obviously not teenagers any more. Given that the plot precis says that they still haven't written the song that will unite the world in peaceful harmony, how depressed and frustrated must Bill and Ted be at this point in their lives?  Not to mention the fact that at the end of Bogus Journey, they both have children -  given their own parental experiences, have they remained true to themselves, or have they unknowingly become their own fathers?  (Hopefully not to the extent that Bill is now married to Missy - although, when you think about it, that's actually not a bad plot hook.**)

Similarly, there's been a lot of water over the dam since Winters and Reeves made their debut as Bill and Ted - will they be able to summon up the same light-hearted exuberance that they effortlessly brought to their characters in the first two films?   Alex Winters has spent more time behind the camera than in front of it since Bogus Journey, and Keanu Reeves hasn't exactly been noted for his fun-loving movie roles recently - it's a big jump from John Wick to Theodore Logan.

Really, though, it should be simple - all they need to do is remember to be excellent to each another and party on.  If they've forgotten that, well, that would be a pretty good place to start the script right there.

- Sid

* Terminator reference, but oddly enough I don't have a posting to link to.

** It's even more of a twist if Ted is married to Missy.  But really, they should still be with Joanna and Elizabeth, the princess babes.

Geek chic.

Ah, and what does the well-dressed geek wear for a late Saturday lunch at the Storm Crow?

NASA cap - check.

Forbidden Planet t-shirt - check.

Academie Duello longsword apprentice green cord - check.

Book Nerd pin - check.

Table for two, please...

- Sid

The Book of the Sword, Part Five: Green Cord.

Fortified by some homework with the Duello TV longsword channel, and a solid re-read of some classic Robert E. Howard Conan the Barbarian stories, I headed off to my final Academie Duello longsword class on Thursday night.

The reason behind my prep work?  Very simple: although there's no test to establish competency at the end of the course, we were scheduled to spend the final class proving our skills in a practical fashion by dueling with each other and the students from the companion Introduction to Rapier course which has been running at the same time as our class for the last four weeks.  When our instructor Miguel had mentioned at our previous class that we'd be doing this, I was a bit apprehensive: my impression of the relative strengths of the two weapons led me to expect that rapier users would butcher us with speed and reach.

To my surprise, this turned out not to be the case.  The leverage provided by the two-handed longsword grip repeatedly allowed me to push aside the rapier and go inside the reach of the blade for a cut or an oblique thrust.  It also turned out that I may in fact have some minor skill in the area of swordplay, to the point where one of my fellow longsword classmates actually said, "Wow, you're good at this!"  I found that I was repeatedly outscoring my opponents by two or three to one, whether it was against longsword or rapier.*

At the end of the evening, there was a brief graduation ceremony,where we were presented with our Green apprenticeship cord by our instructors.  The head of the school, Devon Boorman, was in attendance, and cheerfully informed us that we now knew more about swordplay than 99.9 percent of the rest of the world - although they're doing their best to change that percentage, one student at a time.

Although Academie Duello offers a comprehensive list of options for people wishing to move forward in their study of the sword and achieve further mastery, I don't plan to continue - I'm happy to have received my green cord and become part of that .1% of the global population.

That being said, if you have any interest in trying something a little bit different, or have some curiousity about swordplay after seven seasons of Game of Thrones, I would unhesitatingly recommend an Academie Duello class.  The instructors and staff are uniformly friendly, knowledgeable and helpful, I found both the historical and practical information to be interesting, and hey, you get to fight with swords.

Arte, Ardore, Onore!

- Sid

* To be honest, I can't attach too much significance to this.  It's a bit like being the best walker out of a group of one-year olds.  It's an achievement of sorts, but Usain Bolt certainly isn't going to view me as a threat.

The Book of the Sword, Part Four: Lost in Translation

 

To end our third week of longsword training at Academie Duello, we spent a class working with sidesword and buckler. The sidesword was a successor to the medieval arming sword, which was a relatively short one-handed weapon worn by knights when out of armour, and marked the introduction of a more elaborate knuckle guard than the simple crossbar of the arming sword, following the Germanic habit of hooking one finger over the crossguard for additional control.  The knuckle guard provides protection for the exposed finger, and presages the development of the more elaborate guards that characterize the rapier.

The sidesword was also more of an everyday weapon than longsword or poleaxe.  Its shorter length allowed it to be a literal side weapon that could be worn during everyday activities.  Similarly, the buckler is a shield that's small enough to be hooked onto your scabbard beside the sword, rather than the full sized shield that would be used in actual warfare. (The term "swashbuckler"comes from bravos rattling their bucklers against their swords in order to announce themselves as they swaggered through the streets.)  Held at arm's length, the buckler is both a defensive and offensive weapon, used to block attacks as well as deliver blows when corps-à-corps.

My expectation for sword and buckler was that the buckler would be held in front as a defensive lead, with the sword extended beside it to allow for the two to be used together or independently, much as shown in the illustration below - although from perhaps a bit further away than these two gentlemen.  To my astonishment, we are instructed to hold the sword straight up over our heads as our starting position.  It seems a ridiculous stance for fighting, especially with a weapon that can thrust as well as cut, but Miguel reassures us that this is the approved technique as taken from historical documents.

 

Regardless, I'm sceptical.  Miguel pointed out in one of the earlier sessions that one of the challenges in reviving the art of swordplay is that there's no continuity of practise - swordplay becomes less and less common over time, finally falling entirely out of use as gunpowder takes over the battlefield.  Because of this historical break, modern scholars are forced to rely on a relatively small library of instructional texts in order to rediscover the techniques.*

Most of what we've been taught for longsword is taken from the Flos Duellatorum (Flower of Battle) a 14th century text by Fiore die Liberi, an Italian fencing master.  Other salles d'armes follow equivalent German texts, and there's enough similarity - and variation - to indicate a continuum of technique, albeit with a slightly different vocabulary and bias.

To my mind, the things that we've learned for longsword make sense.  There are standard defensive stances that involve short and long guards (posta breve and posta longa) in which the sword is extended directly in front of the body with the point aimed at your opponent's face, as opposed to the posta di donna or di fenestra, which positions the sword behind either shoulder for cutting or thrusting attacks - these positions are not unlike the way you'd stand if you were at bat in baseball, which seems a logical starting position for a longsword cut.

The hand-over-head sidesword starting guard seems to be a long way - literally - from a good place to attack or defend, and I was a little tempted to take a completely different stance during practice, although that would seem to defeat the purpose of taking instruction. Based on my own experience with instructional material and training, a small part of me wonders if the person who wrote the description that we're following just didn't have had a lot of experience actually fighting people - the old "those who can, do" problem.

- Sid

* If you've seen The Princess Bride, you're familiar with some of the authorities of classic swordplay.  During the duel between Inigo Montoya and the Dread Pirate Roberts, they discuss the various techniques for fighting under those conditions as per Bonetti, Capo Ferro, Agrippa, and Thibault - actual fencing masters from the Renaissance.

The Book of the Sword, Part Three: Flos Duellatorum

Behold the well-dressed student of arms - longsword, gorget for neck
protection, and souvenir Trinity College t-shirt from Dublin.
Fencing masks are added for actual face-to-face practice.

In last night's longsword session, we began for the first time to link together the various attacks and defenses as they would be used in actual single combat through a series of exercises that progressed from simply attacking a static opponent, to having the opponent dodge, to having the opponent defend themselves. It's the also the first time we've been given complete freedom in choosing our attacks and defenses, and it was interesting to see how people approached the opportunity.

Aaron, our substitute trainer for the class, compared this sort of combat to chess, where victory is based on the ability to plan several moves ahead.  I've already starting thinking in those terms, based on the simple attack/defend exchanges that we've had as part of our practice. 

If I have one complaint about the training, it's that there hasn't really been enough repetition to embed the full range of moves into muscle memory.  Out of the various cuts, thrusts and guards that we've learned, I've retained between a half and a third of them, and some additional time spent just doing military-style repetitive drill for each move would have helped me quite a bit.

However, I also realize that eight hours of training sessions isn't a lot of time to cover a wide range of weapons and techniques, and as such, some personal practise may be in order.  To help with this, Academie Duello also has a video subscription service called Duello TV, which offers a wide range of instructional videos through a variety of subscription-based and course pack purchasing options.

 

Conveniently, the Longsword Fundamentals curriculum is available for free on DuelloTV after you register, but I would still recommend that any interested parties sign up for an actual in-person class.  The videos will certainly show you how it's done without any investment of money, but having a knowledgeable instructor correcting your stance or answering questions is invaluable - not to mention a good supply of longswords, appropriate protective gear, and someone else to poke your sword at.

- Sid

The Book of the Sword, Part Two: Weapons of War.

 

This week marked the half-way point in my Academie Duello Introduction to Longsword course, and I'm please to say that I've begun to enjoy the classes more now that we've settled in.
 
Miguel, our instructor, has done an excellent job of familiarizing us with the various longsword techniques, and my fellow students have been quite accommodating when we've been practising as a group of three. The school also has some standard methods of rotating partners so that people get to practise with a variety of opponents.

After three sessions on longsword technique, we spent our last class working with polearms - which, interestingly, are considered to be superior to a sword in a combat situation.  Our instructor informed us that every time they've matched polearm against longsword, the polearm has been the clear winner, based on leverage and flexibility in attack and defense.  He compared a polearm to a rifle and a sword to a pistol in terms of their relative authority on the historical battlefield.

In case you're not a student of edged weapons, the term polearm is generic, covering a wide range of offensive options attached to the end of a pole, with the simplest of polearms being the spear.  More elaborate weapons are the glaive (sword on a stick), poleaxe (axe on a stick), and bardiche, which falls somewhere in between glaive and poleaxe with its extended curved blade (third from the left in the above photo).  Our exercises tonight were done with halberds, a combination axe blade with a spear point on the end and a hammer on the reverse.

We were cautioned to use extra care when practising against an opponent, even with our rubber-tipped mockups.  As Miguel pointed out, whereas a sword can be blunted and capped, a wooden pole is perfectly capable of doing damage all on its own.

The school is very aware of the potential for harm during practise, and as such everything is done at about a quarter of normal speed.  This can be a challenge to maintain, and also requires a certain amount of what Miguel refers to as "honesty" during the sparring process.

 If I'm lunging at someone's face and they move to the side as the start of a parry that will control my blade and allow them to lunge over top of it into my face, I actually have lots of time to redirect my sword to their new location.  However, in an actual fight, I'd be committed to my lunge, and as an honest opponent, I need to maintain that commitment in the same manner.  However, there are some moves, such as defensively snapping a lunge out of line, that simply can't be done slowly.  As I once read in a novel set on a glacial planet where the local wildlife even hunted at a snail's pace in order to preserve energy, regardless of how slow you're moving, there's only one speed for a jump.

- Sid

 

The Book of the Sword, Part One: Forte versus debole.

 

Last night I attended my first longsword class at Academie Duello, and found it to be a mixed experience, to be honest.

I've signed up for eight evening classes, one hour every Tuesday and Thursday evenings for the month of March, which I planned as a substitute for my normal visits to the gym on those nights. As requested, I arrived a bit early for the class in order to receive a quick orientation on the simple student login process and the setup of the studio. The exercise space is divided into larger and smaller practice floors by sword and fencing mask storage racks, with a small retail area near the front and a museum display along one wall.

While I was waiting for our session to start, I watched the students in a rapier class dueling each other, and I was surprised to see that muscle doesn't seem to play a large part in the duels. I would expect the duelists to forcefully push their opponent's blade out of line to either block an attack or to create an opening, but that doesn't seem to be happening.

I mentioned this to our instructor Miguel, who pointed out that it doesn't take a lot of effort to hurt someone with a sharpened steel weapon - apparently it only takes four pounds of pressure to pierce the skin. I can't argue with that, but I still feel that muscle has to have some application in the process.

The evening begins with a lesson on our weapon of choice. The longswords that we're using are in the style from the 14th to 16th century, about 40 inches long, with a 30 inch blade length and a simple crossguard. They're designed to be used with a two-handed grip, with the left hand on the pommel of the sword, rather than snug to the right hand on the hilt, in order to provide leverage and control. The school follows the Italianate model of swordplay, and as such all the terminology is Italian - the stronger part of the blade is the forte, or strong, the part near the point is the weak, the debole.

It's interesting to learn the techniques and the language used to describe them. There's a kind of poetry to the names of the moves: posta di donna, "the woman's guard";  the "boar's tooth" or dente di zenghiaro; porta di ferro, the "iron door" and so on, and watching the instructor do demonstrations shows a nuanced and graceful style.

It's a bit more challenging to try the exercises in person - not so much due to the complexity of the moves, but simply because it's extremely difficult not to mirror the instructor and do everything backwards. I also recognize that these are the building blocks of a martial art - stances, strikes, and blocks - but right now they're just disconnected fragments, which is a bit confusing. It may help when we go further down the path of blending the moves.

However, it's frustrating as well. By its very nature, fighting with swords requires an opponent, and, sadly, once again I'm the odd man out at the party, as with my ballroom dance classes many years ago in Toronto. I'm in a class of five with two couples, both of whom had one partner buy the sessions as a gift for the other.* The instructor had me working with one of the couples as a trio last night, but I feel more than a little self-conscious about interfering in their shared experience.

It's also not really a substitute for gym workouts, at least at this level - the only time I breath heavily is when I run to catch the Number 7 bus for my trip home.

However, early days, and I'm certainly not going to drop out of the class, but I'm hoping to feel a little less like a fifth wheel as we move forward. That being said, if I had one piece of advice for someone taking the course, I'd recommend that they go with a sparring partner.

- Sid

* I texted my wife Karli to confess that I had never thought to invite her, and she was kind enough to reply that it had never occurred to her that she might want to attend.

Fan Boy.

 

Many years ago, someone suggested to me that I should mention something about my personal life on my resume. After a little thought, I cautiously added the following:

PERSONAL INTERESTS

• Science Fiction
• Military History *

I can't honestly say that this has had any overt effect on being hired since then, but I did once have an job interviewer say to me, in the same conspiratorial tone of voice that one would use to discuss a shared interest in latex or lingerie, "So, science fiction....do you go to...conventions????"

In response, I laughed a bit, and said, "No, never, I'm not that kind of a fan."

Which is quite true. I know a few people who have similar interests to my own, but for the most part my fandom has been a private activity.**  I'm also enough of an introvert that I'm not a huge fan of crowds, and as such, I've always viewed conventions and so forth as being a bit too busy for my tastes.  Nonetheless, last Saturday I found myself picking out a suitable t-shirt for an experimental visit to the second day of Fan Expo Vancouver.

After all, conventions have become the great public face of fandom and should be recognized as such. The first World Science Fiction Convention was held in New York in 1939, with a classic guest list from the Golden Age of science fiction: Isaac Asimov, Ray Bradbury, Jack Williamson, John W. Campbell, Hannes Bok, E. E. "Doc" Smith, L. Sprague de Camp, and so on. (It also featured the first example of cosplay - legendary fan Forrest J. Ackerman and his partner Myrtle R. Douglas wore "futuristicostumes" that she had designed and created for the gathering.)

The current standard for conventions is the San Diego Comic-Con, which started with a modest 300 attendees at its debut in 1970, but has since grown to over 200,000 attendees in 2018, with New York Comic-Con pulling in similar numbers on the East Coast.  I really don't think I'd be comfortable participating in an event on that scale, making the expected 30,000 guests for the 2019 Fan Expo look like a much more approachable option for a neophyte like myself.

My final t-shirt choice for the show is my lenticular Astroboy souvenir shirt from our 2015 trip to Japan.  It's apparently a good choice, based on the handful of compliments and comments that it garners from random people in the convention crowd once I'm on site. 

 

I arrive around lunch, at which time the con floor space is not terribly crowded (to my mild relief).  For a small show, they've done all right for guests - for old school fans there's George Takei and Billy Dee Williams representing the Star Trek/Star Wars camps, and Cary Elwes and Wallace Shawn from The Princess Bride. The balance of the theatrical guests relies heavily on the number of television shows being shot locally, with representatives from Riverdale, Arrow, Flash, and Supergirl.  Coming in from further afield we also have Bruce Wayne and Alfred from Gotham - David Mazouz and Sean Pertwee - Pom Klementieff from The Guardians of the Galaxy, and Khary Payton (King Ezekiel in The Walking Dead, as well as voice acting for Big Hero 6 and Teen Titans).

Other attractions include the usual Artist's Alley area for comic creators - I've been out the market for quite a while but I recognize a few names:  Arthur Suydam, Ty Templeton, Arthur Adams, and Steve Englehart, legendary for his work on Batman with Marshall Rogers in the 70s. (My friend Christi*** had the good fortune to walk away with an original Ty Templeton drawing from one of the Sketch-Offs between artists.)

The cosplay crowd is represented by the famous 501st Legion of Imperial Stormtroopers, along with the Mandalorian Mercs and the Falcon Base Rebel Legion, and some individual cosplayers such as Oshley Cosplay, Evilyn13, and Cherry Amaru. The 502st Legion is accompanied by a remote controlled R2-D2, which gets a lot of attention as it wanders the floor.

 

There's also a pretty good selection of cosplay on the part of the attendees. Right in front of me when I enter is a very well done classic Time Lord costume from Doctor Who, and as I wander through the retail area there are a lot of anime characters, an excellent Ghostbuster, an eight-foot tall Bumblebee from Transformers, a wide range of game-derived costumes, and easily a dozen Harley Quinns - for future reference, please be careful with those giant wooden mallets, ladies!

Some of the costume references are quite obscure - until I noticed the TV set in Viking gear, I didn't realize that the green-faced woman with wizard's hat and six-foot tall wand was Dot Matrix from the computer animated Reboot! series. (The TV is named Mike, not that it's important.)  It's safe to say that you're mining a very narrow vein of fandom if you wear a costume that appeared in a single episode**** of a show from 1994.

The booths cover the expected range of broad geek shopping categories:  comics, weapons, toys, clothing and art, along with a few unexpected items that you probably never thought you'd need (Imperial AT-AT planters, anyone?) 

 

I don't leave the show empty-handed, although Star Wars planters don't make the cut. The Canadian Comics booth has a number of attractive deals, and after browsing through several boxes of half-price graphic novels and omnibus collections, I select a Captain Canuck Compendium and a DC New 52 collection of Dial H for Hero, written by science fiction/fantasy author China Miéville, whose surrealistic style should make for interesting reading. I also buy a souvenir shopping bag, because really, you should always get at least one piece of show schwag - and I don't really need any more t-shirts.

Overall, I would have to say that it was an interesting experience, but unless they had someone on the guest list that I desperately wanted to meet in person, I probably wouldn't go again.  It's not that I found any problems with the event, it was well organized with a good selection of guests for a small show, but ultimately I'm more at home at home, where I can peacefully browse shopping opportunities and science fiction updates online.

I guess it's true - I'm really just not that kind of a fan.

- Sid

* The science fiction part has gotten a comment or two, but NO ONE has ever asked me about military history - why does no one want my opinion on how the Russian T-34 was the game changer in WWII tank design?

** Says the man with 816 posts about his hobby on the internet.

*** Yes, her insignia is on the wrong side, but let's not be picky about this.  (In her defense, the dress itself appears to be mirror reversed - the wide part of the collar should be on the left.)

*** Episode 9, Season 1: Wizards, Warriors and a Word from Our Sponsor.

The glass will just keep filling up.

 

I was chatting with my co-worker Wendy this morning and she asked if I was a 90210 fan.  I explained that I was not, but that my wife had already informed me of Luke Perry's premature passing at the age of 52.

Wendy is currently studying to become a personal trainer, and she mentioned that it had come up as part of her course material that there are some people who just have a genetic predilection for problems like strokes, heart attacks, what have some, and some people who just don't.

"Oh well," she concluded, "There's nothing you can do about your DNA."

"Well, not yet," I replied.

Which, really, is the ultimate expression of being a science fiction fan, and one of the things that I most enjoy about science fiction.  There's a kind of optimism to it - yes, there are people who are predicting the apocalypse in 30 years, but really, science fiction suggests that there will be a future, and that we will be in it.  And,  that hopefully we will be able to solve some of the problems that we just have to accept right now, like dying of a stroke when you're 52.

- Sid

Gateway.

 

 “Canada is going to the moon.”

- Prime Minister Justin Trudeau

Yesterday, Canadian Prime Minister Justin Trudeau announced Canada's commitment to NASA's planned Lunar Gateway space station, which will hopefully begin construction sometime in the 2020s.  As in the past, our two billion CAD contribution to the orbital platform will take the form of a smart robotic manipulator - the Canadarm3, of course - which will be composed of a primary large-scale arm and a smaller arm similar to the current DEXTRE unit in use on the ISS.

 

I confess that I'm a bit conflicted regarding the Gateway Station*.  On one hand, I'd prefer to see more of a focus on Mars, in spite of the recent resurgence of interest in lunar exploration, as demonstrated by the Chinese Chang'e 4 lunar probe landing on the dark side at the start of this year, and a planned return to the Moon by NASA.  However, the name "Gateway" is well chosen - a station in lunar orbit would also be a useful stepping stone for Martian exploration while providing the perfect overwatch for lunar missions, and also allow for the development of dedicated vacuum shuttles for ISS-Gateway travel, which would be far more efficient than the hybrid craft that have made the Earth-Moon circuit in the past.

Ultimately, it's important to be sensible about things like this. To paraphrase Bachman-Turner Overdrive**, any space exploration is good space exploration. Everything we do moves us forward on the path of exploration, and, like the song says, we should take what we can get.

- Sid

* All other issues aside, I do think it's a cool name for a space station, no offense to the ISS.

** 70s band from Winnipeg, for the younger members of our audience.  The song being misquoted here is You Ain't Seen Nothing Yet.