Back from Halle

I’m back from my excursion to Halle on Saale. Unfortunately, I missed the last three presentations, since I had to leave early, considering I had one of the longer trips home.

The return trip took four hours rather than three and a half, because it started to snow and once again between Brauschweig and Hannover (the same thing happened on the trip to Halle). This time around, the snowfall lasted all the way to Bremen. Thick flurries of snow to the point that some of the automatic warning signs were indicating “Fog” – probably because they don’t have a symbol for heavy snowfall. Things got particularly bad on highway A27 which branches off in Walsrode just north of Hannover and goes all the way to Bremen and beyond (“beyond” meaning Bremerhaven and Cuxhaven). The A27 is never particularly busy and also has long stretches (up to 20 kilometers or more) without any exits. As a result, they didn’t get the snowploughs and salt spreaders onto the highway quickly enough (or maybe they just didn’t bother or clearing the far busier highways A1 and A7 took precendence), which meant that wet snow sludge started to accumulate on the highway. I was really glad that I wasn’t in my normal car, but in a vehicle with 4-wheel drive and some kind of electronic track control system, because driving through that sort of snow with my regular car would have been seriously scary. Even though, I was extremely glad to be home.

There will be photos of Halle tomorrow or the day after.

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Halle – A Blast from the Past

I’m here in Halle on Saale, enjoying the interesting and varied presentations on a broad spectrum of linguistic topics. My own presentation was on Friday afternoon and everything went well. Apparently, the papers will even be collected in a print anthology, though there’ll probably be an online version as well.

The trip here was a real blast from the past, though. When we left Bremen, the sun was shining brightly on last night’s snow. By the time we reached Walsrode, it became overcast. In Hannover, the first snow flakes started to fall, by the time we reached Braunschweig, we had heavy snowfall. And driving on the highway during heavy snowfalls is not fun.

From Braunschweig on, I also felt rising apprehension and it was not just because of the heavy snowfall. Instead, this rising apprehension is a relic from the many times I made this trip with my parents as a child and teenager. Because from Braunschweig on, you could steadily feel the inner German border approaching, the Iron Curtain coming down like a grey smothering blanket. Beyond Braumschweig there’s only Wolfsburg, then Königslutter and then pretty much nothing all the way to Helmstedt, where the border between East and West Germany used to be and the world used to end. Now 23 years after the fall of the Iron Curtain, the old borderlines are largely invisible. And indeed other routes into what used to be East Germany don’t bother me. But the highway A2 from Hannover to Berlin still does.

Besides, when I said that the old border is largely invisible these days, I meant everywhere but at Helmstedt. Because the old border checkpoint Helmstedt-Marienborn is still very visible and still exists largely unchanged, though it’s a museum these days. In fact, it’s creepy how everything still looks the same, the buildings, the check point, the watchtower, the floodlights used to detect every escape attempt. The concrete pylon in the middle of the highway that used to hold the GDR coat of arms is still there, only the coat of arms itself is gone. Even the barracks that used to house the offices of the East German border guards are still painted the same shade of piss yellow. I wonder where they find the paint, since that particular shade never existed in the West.

Now as a teacher, I’m glad that the old border checkpoint still exists and that it gives students born long after the unification a chance to see what things used to be like. But driving past the place still gives me the creeps, though I know there are no machine gun armed border guards stationed on those watchtowers anymore.

After the old border there’s hilly land with trees and fields and then finally, already a couple of kilometers into Saxony-Anhalt (which is what the state is named today), there is the first sign of human habitation after the border, an old farmhouse. It still looks exactly the same as it always did, grey and miserable and just weathering the changing tides of time.

The first time I visited East Germany with my parents, my initial impression was the overwhelming greyness and drabness of – well, everything. Indeed, I whispered at about the time we passed the farmhouse, “Look, someone stole all the colours.”

This time, a few kilometers into Saxony-Anhalt, I said, “Crap, it’s still grey and drab everywhere. Does the sun never shine here?” Of course, the fact that we were driving through heavy flurries of snow may be partly responsible for that. But still, it is as if the stretch of highway between Helmstedt and Magdeburg is some kind of universal nexus of greyness. That 1980s classic “We’re on a road to nowhere” playing on the radio made everything even creepier.

The first big city on the Eastern side of the former border is Magdeburg, nowadays capital of Saxony-Anhalt. I remember Magdeburg literally rising from the mist, the Plattenbauten, those infamous East German council estates, of Magdeburg Olvenstedt, and the spires of the Magdeburg cathedral in the distance.

In Magdeburg, we left the highway A2 and drove onto the highway that goes to Halle and then on to Leipzig and Dresden. That highway is new – back then it was all pitted country roads. The area still isn’t any more interesting, though. It’s still mainly agricultural land and field with the very occasional town. But now, there are wind turbines as well. Lots of wind turbines.

Every ten or twenty kilometers or so, there were those brown and white signs advertising touristy sights that are a common sight at the roadsides of German highways. Spiegel Online has two not very flattering articles about the project. Those signs are often wildly off with regards to the location of the actual sight, e.g. there used to be one advertising the North Sea coast that was set up some fifty kilometers inland. But the stretch of highway between Magdeburg and Halle was particularly odd in that regard, because there was a flood of brown signs by the roadside advertising all sorts of historic churches and abbeys and castles… in a region that’s largely empty and barely has villages and cities, let alone historic churches, abbeys and castles. It was particularly strange if you actually knew the town in question, e.g. because we had regularly passed through way back when. At one point, I went, “Wait a minute, Bernburg has a castle? Since when?b For in the old days, all they had was a chemical factory.”

As usual, we reached Halle when darkness had already fallen. In fact, I tried to remember whether I have ever actually seen Halle by daylight and failed.

My hotel is a Best Western Hotel at the edge of the city in a neighbourhood called Halle-Neustadt (Halle New Town), a nightmare of Socialist city planning initially built to house the workers in the chemical factories in the nearby towns of Leuna and Schkopau. Here’s a promotional film from the 1970s. The area still looks quite similar. The massive apartment blocks are still there, though some are crumbling, while others have been renovated. The fountain prominently seen in the clip is pretty close to my hotel.

The hotel itself is a post-unification building. The service is pretty good. You get free unlimited WiFi, there’s a parking garage (built in pre-unification times, going by the narrow parking spaces) and since it’s too far to walk into the city centre, you get a free pass for the Halle public transport network (trams and busses) for the duration of your stay, which is a really nice touch.

Once we had gotten to the hotel and dropped off our baggage, we decided to avail ourselves of said public transport network and got on a tram into the city centre. We got off, had a dinner at a Vietnamese restaurant with pretty authentic cuisine and then walked back to the tram stop. The only problem was that the tram line by which we’d come into the city suspended operations at seven PM. Which I didn’t find out until I had waited for 15 minutes and finally decided to ask another passenger waiting for the tram (who turned out to be a Polish nurse who’d moved to Halle eleven months ago). And the line that was still operating didn’t go all the way to our stop, so we’d have to change at a stop with the pretty name Rennbahnkreuz (race track crossing), which is basically a big windswept square surrounded by a couple of highrise buildings. And all that at eight degrees below freezing. Brrr.

By next morning, the weather had gotten even nastier, because over night it had started to snow again. Since the conference only started in the afternoon, I walked through the city centre (which I haven’t seen in twenty years) in the morning. I took photos, too, though most of them look rather gloomy, considering they were taken during heavy snow.

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Off to Halle

I’m putting on my linguist’s hat again, because tomorrow I’m off to Halle on Saale for the North German linguistic colloquium at the Martin Luther University, which happens to be one of the oldest universities in Germany. I’ll be presenting a paper on name portmanteaus (Brangelina and the like), which will eventually be available online in the conference proceedings.

I visited Halle quite frequently as a kid and teenager in the pre- and immediate post-unification era, because my great-aunt used to live in near-by Schkeuditz about halfway between Halle and Leipzig and we visited her every year. The Other Side of the Curtain was inspired by those trips, though I don’t actually mention Halle, though I do mention Leipzig, Schkeuditz and Bernburg.

My great-aunt died a few years after the unification, so I haven’t actually been in Halle for a long time now (I passed through once or twice). My memories of Halle in the 1980s are of a grim and dark city with crumbling Victorian buildings and rumbling trams that always looked as if they were about to jump out off their tracks any minute. I also remember brownish-grey fog wavering through the streets (My reaction was, “Oh my God, the air is so polluted that you can actually see it”). I remember the display window of a florist’s shop with fairly unremarkable plants and a little sign that read, “Plants are for decoration only”. I remember the market square with a big dark tower and a big church (We always visited in winter, so it was always dark) and something that billed itself as a children’s department store, a multi-storey department store devoted only to children’s products, that still managed to have very little of interest on offer.

I will certainly be interesting to see how much the city has changed in the meantime and whether I recognize anything at all. Though it’s a pity that I’ll be there at the same time as the bookfair in neighbouring Leipzig and still won’t find the time to go. Or that I won’t get to see the sky disc of Nebra, a famous bronze age artefact, which is on display in a museum in Halle and which I couldn’t see back in the 1980s, because it was only found in 1999.

There won’t be a lot of blogging, while I’m gone, though I should have internet access at the hotel and the university, though there will be some photos, when I get back.

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Just a quick linkdump, cause I’m busy

The Guardian has an interview with Stephenie Meyer about Twilight, The Host, true love and feminism among other things. It’s an interesting interview – pity about the positively hateful comments. However, what bothers me a little is that Stephenie continues to peddle the “I’n just a mother and housewife who never took a writing class” line, when that’s not the whole story. According to Dave Farland, she was one of the students in his creative writing workshop.

Talking of writing advice, Steve Hockensmith, author of several of those “classic literature with zombies mash-ups”, states how Elmore Leonard’s (or any author’s, really) ten rules for writing only teach you to write like Elmore Leonard. Which is okay, if that’s what you want. But if you want to write like yourself, you will have to find your own path and your own rules. This post really resonated with me, because I’ve always found Elmore Leonard’s much quoted rules problematic and for much the same reason as Steve Hockensmith. I can’t even read Elmore Leonard (sorry, but he does nothing for me and I tried), so why on Earth would I want to write like him?

Lady Business has a lengthy post with lots of data about a topic that regularly comes up once a year or so, namely the continuing gender gap in reviews (here of SFF books), since more books by men than by women are getting reviewed. Lots of good stuff there, including debunking the usual “I only read good books” (which just happen to be written exclusively by male writers – duh) arguments that tend to come up in these discussions.

It appears there is a bit of a backlash against the current trend of bloggers, usually male, reenacting cover poses, usually featuring female characters and often on books by female writers, at least going by this post by Arnie Fenner at Muddy Colors. Considering I have issues with this cover reenacting trend myself (I was going to write a longer post, but didn’t get around to it yet), I’m glad to see a dissenting post. Don’t get me wrong, it was fun the first time around, but by now it gets somewhat annoying, especially since the targets are almost always urban fantasy novels, overwhelmingly written by women. And the last thing the SFF genre needs is more vitriol poured out over an already marginalized subgenre. Never mind that recasting a subgenre that is largely written and read by women and features plenty of female main characters as a hotbed of sexism, just because you don’t like the covers, is problematic. And for the record, I like lots of urban fantasy covers, including some of those singled out for the cover reenactment treatment.

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Winter Wonderland at Springtime

Since, as reported yesterday, winter returned this weekend for one last hurray, I took the chance to go hiking in the snowy winterwoods one more time. And of course, I also took some photos. The location is once again the Westermark forrest near Syke in North West Germany, familiar from earlier snowy forrest photo posts.

I also saw some deer and a woodpecker, but unfortunately, I was not quick enough to photograph them.

So take a look at what March looks like in the Westermark woods: Continue reading →

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The Last Hurray of Winter and a Linkdump

On the cusp of spring, winter returned with a vengeance this weekend for one last hurray. I don’t know how long it will lastm but for now we have approx. five centimeters of snow. I took a bunch of photos, which you can see behind the cut, but for now have some links:

The New Yorker has an interesting article about a new female trickster figures, who manage to outwit the opposition, while still remaining psychologically and often physically fragile. This also ties into my earlier observation that the current trend for having fragile looking, willowy white women play tough as nails CIA agents almost strikes me as some kind of propaganda. “Look out, islamist terrorists, cause even our women can take you.”

At The Kenyon Review, Amy Boesky, now a professor of English literature, recounts how she ghostwrote Sweet Valley High novels as a grad student in the 1980s. I very likely read some of her books back in the day.

On Tuesday, popular German actor Dieter Pfaff died of cancer aged 65. His substantial figure was a frequent sight on German TV in the 1990s and 2000s. Also on Tuesday, Hugo Chavez, president of Venezuela, died, also of cancer. No link, because it’s nigh impossible to find something that is not biassed to the one or the other side.

And now the photos, taken at dawn to capture the untouched snow, hence everything looks a little twilighty: Continue reading →

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The Telegraph on Sex

Apparently, it’s “Let’s talk about sex scenes in fiction” week at the Telegraph, for there are no less than four current articles about literary sex.

First of all, Julian Barnes, poor dear, laments that modern authors are feeling the commercial obligation to write about sex. And the culprit is… no, not Fifty Shades of Grey but Lady Chatterly’s Lover – you know, the novel which was the subject of an obscenity trial in 1960 and has puzzled subsequent generations trying to figure out just what was supposed to be so damn shocking about it. Methinks Mr. Barnes is a tad behind the times.

Also at the Telegraph, Rowan Pelland, former editor of The Erotic Review, responds to Julian Barnes and complains that there is not a whole lot of sex in British fiction and that very little of it is good. Though Ms. Pelland agrees with Julian Barnes that erotic writing was better pre Lady Chatterly’s Lover, when it was still potentially illegal, and claims that erotica rarely flies off the shelves anymore. Uhm, Ms. Pelland must have missed the past year then, let alone the erotic romance boom of the past approx. eight years.

Jon Stock, writer of spy novels, also responds to Julian Barnes and focuses on a particular point, namely that plenty of people tend to assume that all sex scenes are autobiographic. Of course, no one ever assumes that crime writers have actual experience with killing people (except Richard Castle, of course, but then Castle is fiction), just as no one assumes that writers of epic fantasy have actual swordfighting experience (though some of them do) and that writers of grimdark fantasy have personally tried all the torture and execution techniques so lovingly described in their novels.

Katy Brand also responds to Julian Barnes and says that the French still writer better sex scenes than the British. I can’t speak for literature, but I generally prefer sex scenes in British films and TV shows to those in French films.

Finally, the Telegraph also gives us the top ten worst sex scenes in modern literature.

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More on Grimdark Fantasy

The latest reiteration of the debate about grimdark epic fantasy is happily chugging along. You can read my take (with lots of links) here. And now for a roundup of the latest responses:

Foz Meadows offers her take on the debate and points out that the supposed realism of grimdark fantasy is actually a very selective view of reality and one which all too often relegates women, people of colour and GLBT people to the status of victims or erases their existence altogether. Foz Meadows also makes the same point I made before, namely that the writers of grimdark epic fantasy are overwhelmingly straight white cisgender men.

Cheryl Morgan responds to Foz Meadows and also points out that dismissing happy endings for characters from marginalized groups as unrealistic denies readers from those marginalized groups the hope that things can and maybe someday will be better.

Now I don’t believe that Joe Abercrombie meant to say that since gritty epic fantasy portrays the world “as it is”, that automatically means that women only exist to be raped or abused, GLBT people only exist to be killed and people of colour often don’t exist at all. And indeed, Abercrombie pops up in the comments to agree with Foz Meadows. However, there are other authors of grimdark fantasy (cough – R. Scott Bakker – cough) who defend the prevalence of rape and general misogyny in their works with exactly this argument. “I’m only writing it because it’s realistic”.

Writer Jerol Johnson also responds to Joe Abercrombie’s post from the POV of someone who quite enjoys the grittier side of fantasy. What struck me most about this post was that Johnson includes three female writers (Robin Hobb, N.K. Jemisin and Cherie Priest) and at least one writer of colour in his list of writers of gritty fantasy. This is remarkable, because – as I’ve noted before – women and writers of colour are usually assumed not to write gritty fantasy, even if they do. Even more remarkable is that Cherie Priest does not write epic fantasy at all (gritty fantasy is usually assumed to be epic rather than some other mode of fantasy) but steampunk and urban fantasy.

Finally, here is an Italian response to Joe Abercrombie from writer Andrea Santucci. What I find most interesting about this post is Santucci’s assertion that gritty epic fantasy apparently does not exist in Italy or at least it doesn’t sell. Even George R.R. Martin isn’t very popular over there. Come to think of it, Martin wasn’t all that popular in Germany either, until Game of Thrones aired over here (on a channel mainly associated with crappy reality shows in a horrible “chunks of three or four episodes broadcast over a single weekend” format which meant that even people who might have enjoyed the show did not bother watching, because who has the time and the patience to sit in front of the TV for hours on end?) and the books started showing up on bookstore display tables and on the bestseller lists.

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Early March Linkdump

Aeon Magazine has a very good article by Damien Walter about the importance of creating a culture of creativity. Considering how you have to fight as a teacher to be allowed to bring a bit of creativity into your classes and how many students just plain don’t know what to do with it (apart from drawing penises) and how some of them blossom when allowed to be creative, this really resonated with me.

Linguist John McWorter claims that text-speak is not a symptom of the decline of the English (or any other) language, but a new way of writing like we speak. Found via Jay Lake. Of course, David Crystal has been saying something similar for years.

At Tor.com, Emily Asher-Perrin explores what happens when you watch the Star Wars prequels with the sound muted, i.e. without the often bad dialogue, and finds that the much maligned prequels are visually stunning. This post is a response to Camille Paglia’s recent assertion that George Lucas is the greatest visual artist of our time. Now that George Lucas isn’t skilled at handling dialogue and that he is a very good visual stylist aren’t exactly revolutionary insights. Nonetheless, it’s interesting how many of the moments I do like about the prequels are visual rather than dialogue related. Though that moment between Qui-Gon and Obi-Wan in The Phantom Menace does not mean what Emily Asher-Perrin thinks it means. Plus, she misses one of my personal favourites, the very end of Revenge of the Sith, when Obi-Wan takes baby Luke to Beru and Owen Lars, a scene that’s entirely without dialogue. Beru takes one look at baby Luke and her face literally lights up. Then she turns away, Luke clutched protectively to her chest, leaving Obi-Wan standing there, making it very clear that Obi-Wan will not get his hands on Luke while she and Owen live. This little moment explains Luke’s whole childhood right there and also redeems the Lars family, who in the original trilogy had appeared mostly as obstacles who try to keep Luke from his destiny. And that’s exactly what they do – only that they do it out of love and in an (ultimately ill-fated) attempt to prevent Anakin’s fate from repeating itself. It’s also striking how much those dialogueless scenes (not just Obi-Wan delivering baby Luke to the Lars family, but also Bail Organa bringing baby Leia home) manage to offer a hopeful ending to an otherwise bleak and hopeless movie. No matter how bad things may get in the new Empire (and seeing the Death Star in the very early phases of construction just moments before makes it clear that they are going to get very bad indeed), those two kids are loved and they’re going to be all right.

Talking of SF design, Ray Cusick, the BBC production designer who created the iconic Dalek design, died aged 84.

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It’s that time of the year again: Grimdark Fantasy

We’re having our annual gritty fantasy debate, because Joe Abercrombie – being one of the prime purveyors of grimdark fantasy today – launches a preemptive strike and defends dark and gritty fantasy against its critics. Of course, nobody is actually criticizing grimdark fantasy this week, though there is a discussion going on whether epic fantasy is a conservative genre (Liz Bourke and John H. Stevens offer summaries at Tor.com and SF Signal respectively, while Shaun Duke responds to Liz Bourke at The World in the Satin Bag). But considering that criticisms of the relentless darkness of much of current fantasy and SF pop up every few months or so (I have added my two cents to some of the previous go-arounds in these pages), it’s only a matter of time until the next one. Continue reading →

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