C is for Corwin: Zelazny A to Z

I paused when I uncovered the next card, and my heart leaped forward and banged against my sternum and asked to be let out.
    It was me.
    I knew the me I shaved and this was the guy behind the mirror. Green eyes, black hair, dressed in black and silver, yes. I had on a cloak and it was slightly furled as by a wind. I had on b]ack boots, like Eric's, and I too wore a blade, only mine was heavier, though not quite as long as his. I had my gloves on and they were silver and scaled. The clasp at my neck was cast in the form of a silver rose.
    Me. Corwin.

Of all of Zelazny’s characters, Corwin is the Zelazniest!

He checks many of the boxes in the drinking game, probably more than any other character.

• Long lived/immortal: Check
• super strong: Check
• "laid-back..": Check
• "...easy-going...": Check
• "...wise-cracking..."" Check
• "...homicidal": Check
• If the story involves cars or car accidents: Check
• Prose as poetry - Whenever you read a passage so lyrical that you feel compelled to put down the book for a moment to reflect on it: Check
• Free verse poetry: The hellrides
• Use of Real-World Mythology: Not a core component, but Amber is chock full of mythological beasties.
• Use of First person narrative: Check
• If the protagonist is out for revenge of some kind: Check
• Two drinks if the intended revenge is greater than the original offense: Check
• Green Eyes: Check
• If the plot involves a missing father figure: As essential to the story as the car accident.
• Any time a character smokes or talks about smoking: Check
• Any time our character consumes unusual quantities of food: Check
• Description of techniques or use of specialized terms from martial arts or fencing ("I parried in quarte and riposted)
• For use of phrases in foreign languages: Check
• Two drinks if it's in French: Check.
• Use of the word "arroyo": Not sure if it came up until the Merlin books, but it has to be in there.

I deal you out like a hand of cards, my brothers and sisters. It is painful as well as self-indulgent to generalize like this, but you—I—we—seem to have changed, and before I move into the traffic again I require a final look.
    And the man clad in black and silver with a silver rose upon him? He would like to think that he has learned something of trust, that he has washed his eyes in some clear spring, that he has polished an ideal or two. Never mind. He may still be only a smart-mouthed meddler, skilled mainly in the minor art of survival, blind as ever the dungeons knew him to the finer shades of irony. Never mind, let it go, let it be. I may never be pleased with him.
    Carmen, voulez-vous venir avec moi? No? Then goodbye to you too. Princess of Chaos. It might have been fun.

B is for Borshin:Zelazny A to Z

The Borshin is the secondary antagonist from Jack of Shadows and the subject of some of the best lines. Less a character and more of a force, it still moves the story forward.

It looked like something that had started out to be a man but had never quite made it. It had been stepped on, twisted, had holes poked into the sickly dough of its head-bulge. Bones showed through the transparent flesh of its torso and its short legs were thick as trees, terminating in disk-shaped pads from which dozens of long toes hung like roots or worms. Its arms were longer than its entire body. It was a crushed slug, a thing that had been frozen and thawed before it was fully baked.
It was-"It is the Borshin," said the Lord of Bats.

Later:

"I am Jack of Shadows!" he cried out. "Lord of Shadow Guard! I am Shadowjack, the thief who walks in silence and in shadows! I was beheaded in Igles and rose again from the Dung Pits of Glyve. I drank the blood of a vampire and ate a stone. I am the breaker of the Compact. I am he who forged a name in the Red Book of Ells. I am the prisoner in the jewel. I duped the Lord of High Dudgeon once, and I will return for vengeance upon him. I am the enemy of my enemies. Come take me, filth, if you love the Lord of Bats or despise me, for I have named myself Jack of Shadows!"
Quilian's face showed puzzlement at this outburst, and though he opened his mouth and tried to speak, his words were drowned out by the other's cries.
Then the window shattered, the candle died, and the Borshin sprang into the room.

and near the end:

Through the dust, the noise, the chill, it followed the trail. The flaring lights, the trembling land, the stalking storm meant nothing to it, for it had never known fear. It glided down hills like a ghost and slithered among rocks like a reptile. It leaped chasms, dodged falling stones, was singed once by lightning. It was a blob of protoplasm on a stick; it was a scarred hulk, and there was no real reason why it should be living and moving about. But perhaps it did not truly live-at least, not as other creatures, even dark-side creatures, lived. It had no name, only an appellation. Its mentality, presumably, was not great. It was a bundle of instincts and reflexes, some of them innate. It was lacking in emotions, save for one. It was incredibly strong, and capable of enduring extreme privation, great amounts of pain and excessive bodily damage. It spoke no language, and all creatures it encountered fled from it.
While the ground shook and the rocks rattled about it, it began its descent of the mountain-which-once-had-moved, currents of blazing cloud dropping fires along its way.
The landslide did not stop it any more than the tempest could.
It picked its way among the strewn boulders at the mountain's base and for a moment regarded the final ascent.
There led the trail; there must it follow.
High, high-set, walled and well guarded ...
But in addition to its strength it possessed a certain cunning.
...And its one emotion.

The Borshin even gets a song in the Jack of Shadows album.

A Wrinkle in Time

I've lost faith in a lot of the things I believed in as a child.

I stopped believing in God and Santa Claus decades ago and on bad days I don't even believe in myself.

But I still believe in a Wrinkle in Time.

It is my desert island book. It's the book that reminds me that there is still goodness in the world.

The 2003 movie was pretty bad, but I approached this version with tempered enthusiasm. Jennifer Lee had been the screenwriter for Frozen, so that was encouraging.

But I really don't understand how she managed to miss the meaning of the book so completely. It's one of the few properties about which I'm still sentimental and they messed it up so badly that I was just short of actually angry.

I guess I'll open with what I liked about the movie.

THE GOOD

Meg Murray: Meg is probably white in the book, but that whiteness isn't essential to her character, so I don't have any problems with the change. Storm Reid (who has a great name) does an outstanding job with the performance. I'd go so far as to say that she's the best part of the film. The idealized Meg with straightened hair was a good scene, and I don’t think it would have had the same punch with a white girl in the role.

The scenes with baby Meg and her dad were really cute too.

Red: He was a departure from the character in the book, but I thought Red worked pretty well. The bit with the sandwich being literal sand (instead of just tasting like sand) was a bit on-the-nose for my liking, but affably evil characters can be frightening in a way more obviously evil villains aren’t and he’s a good contrast to the capital E Evil of the IT. The puppet metaphor went on a bit too long, but it wasn’t bad conceptually.

The IT: This is another change that more or less worked. Calling the adversary “IT” works in a novel, where you can see the capitalization, but it would lead to confusion in a movie already populated by Whos, Whiches and Whatsits galore.  Adding the article in front of IT is a small change, but I would argue that it’s almost a necessary one for clarity’s sake. Also, the weirdo psychedelic brainscape was a little ostentatious (like the rest of the movie), but a.) at least there was no glitter and b.) IT as described in the book (a slightly oversized brain on a dais) probably would have looked silly on screen.

Enfolded: I liked the recurring motif of things being present but hidden from sight because they’re enfolded. The visual of the paper fortune teller works and the set-up more or less pays off. I thought they were going to use it to illustrate a tesseract, but they didn’t, and that seems like a missed opportunity.

Some good scenes: The montage of misery on the earth was a truly well-composed sequence.  Ava DuVernay does a great job with the quiet, human moments, and those moments should have served as the core of the movie, but they were lost in favor of spectacle.

The Bad

Mrs. Whatsit: "Now, don't be frightened, loves," Mrs. Whatsit said. Her plump little body began to shimmer, to quiver, to shift. The wild colors of her clothes became muted, whitened. The pudding-bag shape stretched, lengthened, merged. And suddenly before the children was a creature more beautiful than any Meg had even imagined, and the beauty lay in far more than the outward description. Outwardly Mrs. Whatsit was surely no longer a Mrs. Whatsit. She was a marble-white body with powerful flanks, something like a horse but at the same time completely unlike a horse, for from the magnificently modeled back sprang a nobly formed torso, arms, and a head resembling a man's, but a man with a perfection of dignity and virtue, an exaltation of joy such as Meg had never before seen. No, she thought, it's not like a Greek centaur. Not in the least.

From the shoulders slowly a pair of wings unfolded, wings made of rainbows, of light upon water, of poetry.

Hold that image in your mind. The book cover at the top of the post can serve as a useful reference. Go back and read it again if you need to. I didn't see anything describing a flying piece of asparagus with Reese Witherspoon's chin, but that's what we got.

It's nice to see Archibald is still finding work after Veggie Tales.

I want everyone to know that Lily is the one who came up with asparagus joke.

Mrs. Who: Her distinguishing trait in the novel is that she speaks in quotations. They dispense with that about a third of the way through the movie, at about the point where she wore a bustle while running through flowers who were also running.

She loses additional points for quoting Chris Tucker. What’s the matter, couldn’t they get the rights to wubba lubba dub dub? Mrs. Who quotes Chris Tucker and the attribution, “Tucker, American” is longer than the quote. Ugh. Listen. I understand the desire to be topical, and those kids today (shakes rake at them to warn them off my lawn) aren’t going to understand the provenance of a quote by Blaise Pascal. But this is barely even a catchphrase.

Mrs. Which: I was nervous about Oprah Winfrey in the role because I thought her presence would prove distracting because she's one of the most famous human beings in the world.

I was wrong. She was even more distracting than I had feared because she was one hundred feet tall and covered with glitter.

The Titans have breached Wall Maria. 

In the movie, she says, "Trust nothing." Do you have that  Fox Mulder "I want to believe" poster hanging on your wall, Mrs. Which?

Give me that old-time religion: I'm not religious myself, but Madeleine L'Engle's particular brand of Christian Universalism serves as the core of the book.("All will be redeemed in God's fullness of time, all, not just the small portion of the population who have been given the grace to know and accept Christ. All the strayed and stolen sheep. All the little lost ones.")

I don't think it can be removed without changing the story fundamentally and you certainly can't just rip it and continue on with nothing in its place, as was done here. The movie is empty inside.

The Writing: It's often just bad. "She's evolved beyond the need for language." "Charles Wallace doesn't live here anymore." Seriously? Even children's cartoons know they can't get away with playing that line straight anymore. Calvin disappears almost completely for the final twenty minutes of the movie. We were joking that he'd be calling for the other characters on Camazotz during a post-credit sequence.

Crappy Mentors: A Wrinkle in Time served as an influence on my Doctor Who story, Forever Fallen. I also loved the Doctor's relationship with Ace because he could solve her problems for her easily enough, but instead, he helps her become the version of herself capable of solving those problems. That same dynamic is at play in the book, but the movie features mentors that neither like nor respect their charges and it just doesn't work. What's the point?

The Happy Medium:  Zach Galifianakis plays the medium as a gymnast/soothsayer. Kudos for playing against type, but not an interpretation that grounds the movie, is it?

Walk like an Egyptian

Charles Wallace goes down like a chump: In the book, Charles Wallace goes into IT’s grasp willingly, because IT has promised him that the location of his father is in there and he believes he’s strong enough to pull himself out once he’s in there. Pride is his fatal flaw and it’s this overconfidence that gets him.  In the movie, The Man with Red Eyes takes control of Charles Wallace by reading from his second-grade math homework.

I’ve touched on this before, but love is the theme of the book. Meg is poisoned by doubt, but she knows as certainly as she knows anything that Charles Wallace loves her. Her mother loves her. Her father loves her. They love each other and despite her doubts about other things, Meg knows this. The Mrs. Whatsit of the books loves her.

"Mrs. Whatsit hates you," Charles Wallace said.
And that was where IT made ITs fatal mistake, for as Meg said, automatically, "Mrs. Whatsit loves me; that's what she told me, that she loves me," suddenly she knew.
She knew!
Love.
That was what she had that IT did not have.
She had Mrs. Whatsit's love, and her father's, and her mother's, and the real Charles Wallace's love, and the twins', and Aunt Beast's.
And she had her love for them.
But how could she use it? What was she meant to do?
If she could give love to IT perhaps it would shrivel up and die, for she was sure that IT could not withstand love. But she, in all her weakness and foolishness and baseness and nothingness, was incapable of loving IT. Perhaps it was not too much to ask of her, but she could not do it.
But she could love Charles Wallace. She could stand there and she could love Charles Wallace. Her own Charles Wallace, the real Charles Wallace, the child for whom she had come back to Camazotz, to IT, the baby who was so much more than she was, and who was yet so utterly vulnerable.
Charles. Charles, I love you. My baby brother who always takes care of me. Come back to me, Charles Wallace, come away from IT, come back, come home. I love you, Charles. Oh, Charles Wallace, I love you.

Movie Mrs. Whatsit’s opinions on Meg range from disgust to disinterest. Why is she even there if she feels this way?

What I’d like to see is a more or less straight adaptation of the book as an animated film by studio Ghibli. Hayou Miyazaki can helm it the next time he comes out of retirement.

Grrr...So bitterly disappointed in what we got.

A is for Arroyo: Zelazny A to Z

Arroyo
ar·roy·o
/əˈroiˌ(y)ō/
noun: arroyo; plural noun: arroyos

A steep-sided gully cut by running water in an arid or semiarid region

Ha! You thought this was going to be Amber, didn’t you?

Every writer has concepts or phrases to which they regularly return.  I make a few light-hearted observations about Zelazny’s signature style in the drinking game and his penchant for using “arroyo” is one of the items on my list.

Now, on the face of it, this is not unreasonable. He lived in Santa Fe and wrote about the American Southwest or otherworldly regions analogous to it. Consequently, he uses a word that describes a feature of the landscape that would reasonably be found in such a setting.  It’s not like he has to engage in excessive perturbations of the narrative to get there.

That said, it shows up an awful lot.

A partial list:

Last of the Wild Ones
Unicorn Variation
Coils
Eye of Cat
A Dark Travelling
Bridge of Ashes

I’d like to see the Nabokov's Favorite Word Is Mauve type analysis to see if it's statistically significant.

Roger Zelazny A to Z

It's April! Traditionally I've done poetry (originally haiku, but later branching off into other types), but sometimes I've mixed it up and done quotes from Zelazny's work. This year I'll be doing one post for every weekday in April, starting with A and working my way through the alphabet. Please swing by tomorrow to see what we have for A.