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I am a bad researcher. I ought to sit down with texts and work my way through them, taking copious notes, and then assemble these elements into a coherent argument. Most of the time, however, I start with an idea and find the evidence to fit it. There's a cultural connection between food, music and sex which will explain The Sparrow. The medusa chimes with Joanna Russ. This has scary ramifications for my practice - the three papers I delivered in February were all written at the last minute.
The metaphor I reach for is Michelangelo - although I am hardly he. In each block of stone he found his statues, by chipping away the stone that didn't fit.
I'm working on a book on 1970s sf - witness http://flares.wordpress.com - and for two years now I've had a plan. I knew what happened during the period, and how sf changed during the period - and ... well I've wanted to avoid a masternarrative that simplified the period as having one thing at stake. Yet, there was still something missing. Perhaps the big so-what?
Yesterday, in the Carbuncle Cafe I sat and read the start of Stephen Paul Miller’s The Seventies Now: Culture as Surveillance - a book I lent my copy of six years ago - and something fell into place. Imagine a thousand tumbling dominoes, in the shape of a bud coming into bloom. That explains why those films have amphicatastrophic endings - and indeed why Star Wars is eucatastrophic. That explains part of what's going on in feminism, and why there are so few gays in 1970s sf. Everything makes sense in a way it hadn't yesterday afternoon. I'd also for a while had the sense that the Doctor Who story "The Invisible Enemy" was key (as well as Flow My Tears the Policeman Said) - and now I know why.
My statue has a face.
The metaphor I reach for is Michelangelo - although I am hardly he. In each block of stone he found his statues, by chipping away the stone that didn't fit.
I'm working on a book on 1970s sf - witness http://flares.wordpress.com - and for two years now I've had a plan. I knew what happened during the period, and how sf changed during the period - and ... well I've wanted to avoid a masternarrative that simplified the period as having one thing at stake. Yet, there was still something missing. Perhaps the big so-what?
Yesterday, in the Carbuncle Cafe I sat and read the start of Stephen Paul Miller’s The Seventies Now: Culture as Surveillance - a book I lent my copy of six years ago - and something fell into place. Imagine a thousand tumbling dominoes, in the shape of a bud coming into bloom. That explains why those films have amphicatastrophic endings - and indeed why Star Wars is eucatastrophic. That explains part of what's going on in feminism, and why there are so few gays in 1970s sf. Everything makes sense in a way it hadn't yesterday afternoon. I'd also for a while had the sense that the Doctor Who story "The Invisible Enemy" was key (as well as Flow My Tears the Policeman Said) - and now I know why.
My statue has a face.
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