In this section:
Tue, 17 Dec 2019
In 2006 I wrote an essay about Neal Stephenson's not-really-a-trilogy “Baroque Cycle” and then in 2017 another about his novel Seveneves. I was telling some folks about this, and regretting that I had never written about Anathem, which is my favorite of his books, when I remembered that long ago I wrote about his first novel The Big U.
I have mentioned The Big U before, in connection with Julian Jaynes’ bicameral mind theory, saying
I still wonder this. I should write up a summary of the Jaynes someday.
I liked The Big U better than Stephenson did. Wikipedia says:
Here's my discussion of it, originally posted to
It was the only one of Stephenson's books that I liked. (I have not yet read Cryptonomicon or Zodiac.)
In Snow Crash and The Diamond Age, I felt that Stephenson let the plot run away from him. He introduced characters and macguffins that were cool, but ultimately irrelevant. About halfway through Snow Crash, I said "Geez, if he doesn't stop bringing in new stuff, he's never going to finish dealing with the stuff he has." Three quarters of the way through, I said "Geez, he's never going to be able to tie up all these loose ends." And by the end of the book, that's what had happened. There's a famous saying about how you mustn't roll a cannon onto the stage in Act I unless you're planning to fire it in Act III. Snow Crash left more unfired cannons lying around the stage than any book I can remember reading. There was a lot to like in both books, but at the end I was left scratching my head, wondering what story had been told.
The Big U, in contrast, is a lot tighter. It is the story of one year at the U, from September to May, at the end of which SPOILER. Stephenson brought a whole bunch of stuff on stage and used every bit of it. The railgun was foreshadowed for the entire novel, and I said to myself "If he doesn't use the damn railgun, I'm never reading another one of his books." But he did get satisfactory use out of the railgun. There were no extraneous characters who were abandoned in the middle of the book with no explanation. The book had a beginning, a middle and an end. If Snow Crash had an end, I couldn't find it.
Well, if someone didn't find the book painfully bad, then they might not feel that it suffered by comparison with his 'great' later works. (Which in my opinion are overrated; that's another post for another day.) So this is a non sequitur.
There was no reason to have thought that, because almost all the criticisms you have of The Big U are quite personal.
Let's look at them:
Just because you didn't think it was funny doesn't mean that other people will agree. Sometimes you can conclude that almost nobody could possibly find it funny (for example, because it was derivative or offensive) but I don't think any of those reasons apply it here. It appears that you made a personal judgment ("I don't think it's funny") and then extrapolated that to cover the entire universe. ("Therefore, it isn't funny, and nobody could possibly think it is funny.")
I thought it was funny. I almost never laugh when I read a book. I laughed when I read The Big U.
Same thing here. You didn't like the characters, but that doesn't mean that nobody will like them, and I don't know why you thought that nobody would like them. What didn't you like about them? Did they seem improbable? Did they behave irrationally? Could you give an example? I thought the jerky college students mostly behaved like jerky college students. When I was in college, several of the boys on my hall decided to take up chewing tobacco; they then spat their chaws into the hall water fountain and the floors of the showers, so that everyone else could enjoy it as much as they did. They would have fit right in at the Big U.
I liked the characters I was supposed to like and disliked the characters I was supposed to dislike.
This doesn't even reach the level of criticism.
Finally a substantive criticism!
I don't have a very clear recollection of the book (I read it only once, several years ago) but I seem to remember that some of the groups involved in the final showdown were
There are a lot of criticisms you could make of this book, but I don't think "stereotyped groups engage in firefight" is one of them. Firefight, yes. Stereotyped groups? How many novels have you read that involve a pack of bicameral college students whose god is an electric fan? Maybe the giant mutant sewer rats are old-hat. I saw them as more of an homage.
I don't think that the book was just an excuse for the firefight. The book builds towards the firefight in the same way that any book builds towards its climactic scene. But the firefight isn't the only reason for the book to exist. It has a theme, which is that the architecture of the Big U influences the behavior of its inhabitants, and because architecture is horrible, it makes the inhabitants horrible. The theme is developed, with many examples: The U is insular and inward-looking, so the inhabitants become selfish and arrogant. The U itself is made of identical parts in precisely artificial geometric arrangements, so the inhabitants lose their individuality and become mobs. The U is impersonal and inhuman, so the inhabitants become cruel and inhumane.
There's a lot of commentary on the relationship between the U and its inhabitants with the people who live in the surrounding neighborhood. Having grown up near Columbia University, I found this to be incisive.
There are many details of people being incidentally and unthinkingly screwed over by bureaucracy, very much in the style of the movie Brazil, or Douglas Adams' game Bureaucracy. (The Big U predates both.) I thought that the scene at the very beginning that introduced Sarah Johnson was an excellent satire of the casually destructive nature of bureaucratic screwups. I was strongly reminded of the conclusion I came to when I was trying to register for summer classes at Columbia: Absolutely everything is implicitly forbidden, and the only way to get anything is to make an appointment to get special permission from the Dean.
Another part of the book that stands out in my mind is the section dealing with the pettiness and stupidity of student (and all) government. I felt like I'd been waiting a long time to read that.
I don't know what to say about 'adolescent day dream', since I haven't read it recently enough to remember the tone. But I don't think that many adolescent daydreams are as bizarre and surprising as this one was.
In the future, I think your reviews might be more useful if you would avoid statements like "It was absolutely dreadful", which don't really tell anyone anything except that you thought it was dreadful.
Fri, 13 Dec 2019
[ Content warning: dead bodies, sex crime, just plain nasty ]
A co-worker brought this sordid item to my attention: LAPD officer charged after allegedly fondling a dead woman's breast.
Chas. Owens then asked a very good question:
I tried to resist this nerdsnipe, but I was unsuccessful. I learned that California does have a law on the books that makes it a felony to have unauthorized sex with human remains:
I think this addresses Chas.’s question. Certainly there are other statutes that authorize certain persons to disinter or mutilate corpses for various reasons. (Inquests, for example.) A defendant wishing to take advantage of this exception would have to affirmatively claim that he was authorized to grope the corpse’s breast, and by whom. I suppose he could argue that the state had the burden of proof to show that he had not been authorized to fondle the corpse, but I doubt that many jurors would find this persuasive.
Previously on this blog: Legal status of corpses in 1911 England.
Thu, 12 Dec 2019
Many ‘bene-’ words do have ‘male-’ opposites. For example, the opposite of a benefactor is a malefactor, the opposite of a benediction is a malediction, and the opposite of benevolence is malevolence. But strangely there is no ‘malefit’ that is opposite to ‘benefit’.
Or so I wrote, and then I thought I had better look it up.
The Big Dictionary has six examples, one as recent as 1989 and one as early as 1755:
(Charlotte Charke, A narrative of the life of Mrs. Charlotte Charke (youngest daughter of Colley Cibber, Esq.), 1755.)
(I think the “benefit” here is short for “benefit performance”, an abbreviation we still use today.)
Mrs. Charke seems to be engaging in intentional wordplay. All but one of the other citations similarly suggest intentional wordplay; for example:
(P. Howard, Word in Your Ear, 1983.)
The one exception is from no less a person than J.R.R. Tolkien:
(Around 1973, Quoted in C. Tolkien, History of Middle-earth: Sauron Defeated, 1992.)
Incidentally, J.R.R. is quoted 362 times in the Big Dictionary.