M. Thomas Gammarino
Bio
Author of King of the Worlds, 'Big in Japan,' and 'Jellyfish Dreams.' Received the Elliot Cades Award for Literature, Hawaii's highest literary honor. Website: mthomasgammarino.com
Stories (5/0)
Word-Worlds
Ted Chiang is among the greatest short story writers in the history of science fiction, and I've been recommending his work to students for years. That said, I was somewhat disappointed by Arrival, Denis Villeneuve's recent film adaptation of Chiang's masterful short story "Story of Your Life." The film, in my view, is too noncommittal genre-wise. It doesn't know what it wants to be—action-adventure or philosophical meditation, Independence Day or Ex Machina. I suppose there's a way to elegantly split that difference, but I don't think it happens here. To be fair, it's a tough story to adapt: high-concept, but cerebral and exposition-y. "Story of Your Life" features none of the fate-of-the-Earth-hangs-in-the-balance testosterone of Arrival; what's most interesting about it is the peculiar linguistics of the alien language, particularly the written script, which Chiang's narrator explores in depth. The film dumbs all this down. We get squiddy aliens ejaculating ideograms, and some montage-like scenes of Amy Adams' character trying to decipher them at her desk, but we're not really privy to her insights, and, though a major plot twist depends on it, we never get the full picture of how the aliens' language is a natural outgrowth and/or determinant (or both?) of their relationship to time, which is, or ought to be, the story's great payoff.
By M. Thomas Gammarino7 years ago in Futurism
The Science Fiction of Music
My first novel, Big in Japan, is about a neurotic American prog-rocker coming of age in Japan. My second, Jellyfish Dreams, is about a biologist’s quest to reanimate his dead fiancée at the instigation of a black hole beneath his sofa. Readers who’ve read both books usually remark on how different they are, but I don’t see it that way. For one thing: crazy artist, mad scientist—same difference. For another, even if you agree with (a quote I’ve seen attributed to) sf comics genius Warren Ellis that “Prog rock was sick and wrong then and it is sick and wrong now,” one can’t deny that prog drinks as liberally from the sf well as it does from the epic and fantasy ones. And so, a primer on some of history’s more salient prog-sf conjunctions:
By M. Thomas Gammarino7 years ago in Futurism
Space (Part II - Vonnegut's Cat's Cradle)
In my last article, I discussed William Gibson's cyberpunk classic Neuromancer as a key text in the convergence between science fiction and postmodernism. This time, I want to stay right on the cusp and consider the case of Kurt Vonnegut, who happens to be the writer who made me want to be one myself someday.
By M. Thomas Gammarino8 years ago in Futurism
Space
In a recent Omni article, "New Words Were Needed," I looked at some of the commonalities between modernism and science fiction. After inventorying some of the ways science fiction transposes modernist formal concerns to the level of story, I wrote, "And those are just some of the techniques of modernism; I won't even mention postmodernism."
By M. Thomas Gammarino8 years ago in Futurism
New Words Were Needed
I spent the past semester teaching two separate courses— one on science fiction, the other on modernism— to some very bright high school students. Having expected to suffer some intellectual whiplash as I shifted several times a day from talking about aliens and cyberpunk to Dadaism and the Harlem Renaissance, I was relieved at how naturally it all came to me. No doubt this is because I like all this stuff and generally know my way around it, but what surprised me was how much overlap these "genres" turned out to have (they're not really "genres," but I can't seem to find a better word)— that is, that I enjoy Ulysses and A Martian Odyssey for many of the same reasons; it's just that these reasons are operating at different levels of the text.
By M. Thomas Gammarino8 years ago in Futurism