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Explores concepts of monstrosity in Western civilization from Beowulf to Jurassic Park.

We live in a time of monsters. Monsters provide a key to understanding the culture that spawned them. So argue the essays in this wide-ranging and fascinating collection that asks the question, What happens when critical theorists take the study of monsters seriously as a means of examining our culture?

In viewing the monstrous body as a metaphor for the cultural body, the contributors to Monster Theory consider beasts, demons, freaks, and fiends as symbolic expressions of cultural unease that pervade a society and shape its collective behavior. Through a historical sampling of monsters, these essays argue that our fascination for the monstrous testifies to our continued desire to explore difference and prohibition.

This book sounds fascinating. An interview with the editor.

Halfway through an exchange of emails with the science fiction writer Charles Stross - a virtual meeting in cyberspace which might have had something of the exotic as little as five years ago - it strikes me that our text-based communication feels almost archaic now.

It’s a realisation that might have come straight from the pages of one of Stross’s novels. These days, email tennis feels almost boringly routine, and the rapid normalisation of the technologies which are changing people’s lives is a recurrent theme in his fiction. Despite their hard-edged technological focus, Stross’s worlds are often as quotidian as they are fantastic.

Link! The only novel of Stross’ I’ve read is Accelerando, but it was fantastic. Via Reddit.

Wired (again):

Here’s my overly reductive, incredibly nerdy way of thinking about the novel: Consider it a simulation, kind of like The Sims. If you run a realistic simulation enough times — writing tens of thousands of novels about contemporary life — eventually you’re going to explore almost every outcome. So what do you do then?

You change the physics in the sim. Alter reality — and see what new results you get. Which is precisely what sci-fi does. Its authors rewrite one or two basic rules about society and then examine how humanity responds — so we can learn more about ourselves. How would love change if we lived to be 500? If you could travel back in time and revise decisions, would you? What if you could confront, talk to, or kill God?

Teenagers love to ponder such massive, brain-shaking concepts, which is precisely why they devour novels like Philip Pullman’s His Dark Materials, the Narnia series, the Harry Potter books, and Ender’s Game. They know that big-idea novels are more likely to have an embossed foil dragon on the cover than a Booker Prize badge.

Read on.

AP:

A Roman Catholic school board in Ontario ordered the popular fantasy book “The Golden Compass” taken off library shelves at dozens of schools Thursday after receiving a complaint about the author referring to himself as an atheist.

Similar concerns prompted a Catholic organization in the U.S. to urge parents to boycott a movie version of the book starring Nicole Kidman.

The board for Catholic schools in Ontario’s Halton region said a complaint was lodged after British author Philip Pullman stated in an interview that he is an atheist.

Read on. Notice the book, which is at the very least dismissive of Christianity, doesn’t seem to be an issue here. Publically saying that you are an atheist is enough to get your book pulled from shelves. I expect better from the Canadians.

In the U.S., the Catholic League has criticized Pullman’s trilogy for bashing Christianity and promoting atheism.

Shocking! Disgusting! How dare a book advocate a philosphical position! Next I bet Pullman will invade foreign lands and force the people there to “convert” to atheism at the end of a sword.

The New York Magazine “Vulture” Blog has a review:

In transforming the 338-word story of Where the Wild Things Are into a 111-page screenplay, Eggers and Jonze have fleshed out the story not, unexpectedly, with wild plot developments, and not, thankfully, with densely packed pop-fiction references. Instead Where the Wild Things Are is filled with richly imagined psychological detail, and the screenplay for this live-action film simply becomes a longer and more moving version of what Maurice Sendak’s book has always been at heart: a book about a lonely boy leaving the emotional terrain of boyhood behind.

Read on. [via Kottke]