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A Machine for Satan?

22 Sunday Nov 2020

Posted by danielwalldammit in Movie Villainy, Movies

≈ 7 Comments

Tags

Books, Deus ex machina, Fiction, Film, Movies, Narrative, Plots, Stories, Villainy

Denver Villainy

We’ve all heard the ‘deus ex machina,’ right? Everyone knows that little story about how the folks in ancient Greek theater used to end a play by hoisting a God out over the stage at the end of a play to resolve the major problems in the story line. We all know that the phrase is now used derisively to describe any device in which an author solves problems by means of an external resolution. When the protagonists of the story can’t solve their own problems, we consider it cheating to have the cavalry ride in at the end or cut to the central character waking up to find it was all a dream, or find out the protagonists were really faking the audience out right along with their villain. (Supernatural, I’m looking at you!) I cringe when a hero pinned down by bad guys with automatic weapons manages to run across and open field without getting hit, and I have long since grown tired of engines that are supposed to blow up at warp-factor 10, but somehow manage warp factor 12 for a minute or so as Captain Kirk looks at us with that special mixture of fear and confidence, and possibly without his shirt. It’s also bad when the hero somehow gets through all the guards without any explanation as to how she got there to confront the big-bad-evil Night King and win the most important battle of the whole series two full episodes before its over, and now we have to wonder why we should watch the last two episodes at all when this was supposed to be the biggest conflict of the whole story? Why!?! WHY!?!

…okay I get a little carried away, sometimes.

I do.

Anyway, the point is that it’s cheating to impose a solution on the end of a story without forcing the protagonists solve the problems for themselves. If they can’t solve their problems, then they can end tragically. Sometimes that works too, but when the problem is solved magically, it feels like a cheat. We call that sort of ending a ‘deus ex machina’, and when we use that phrase it is not used in praise.

So what about a Satanus ex machina?

I’m probably botching the grammar in that phrase, but in my defense, the Devil Made me do it.

I personally find it no less irritating when the central problems to be resolved in a story are unmotivated by any reasonable sense of how the world works or what a villain wants. Oh, I can suspend belief for a central premise or two, but there is a point at which the story should begin to follow a logic of it’s own. Once those premises are established, the actions of the characters in question, including those of the major antagonist of the story ought to make sense within the universe in which they live. If this isn’t the case, then how do we understand the protagonists own responses to the difficulties at hand? What do they need to do to solve those problems? Unless the problems facing our main characters present them with some meaningful choices, they are just as deprotagonized as they would be if someone else solved their problems for them, and the problems posed by the story do not have a meaningful logic of their own, then they impose no meaningful choices on the protagonists.

What am I talking about?

I’m talking about the villain who is doing villainous things just to be a villain? Worse yet, I am talking about the villain who has a clear rationale for their actions, but whose actions leave that rationale aside as the story approaches its climax. We knew why he did this, but why is he doing that? Why would a bad guy who steals a ton of money, for example, wish to cause havoc with the global economy on his way out the door? (Sorry, Die hard. It’s a sticking point.)

I’m talking about a supernatural power that kills people right and left, and does so without any clear explanation.

I’m talking about any sort of fight in which supernaturally powerful characters pound away at each other with no effect until the writer finally decides to show us mercy and let one of them actually get hurt and/or die. (Alright, this may not be entirely a problem of villain construction, but it’s damned irritating and all-too damned common.)

I’m talking about a world in which the rules are frequently rewritten to undo whatever resolution our protagonists come up with. If “It was a dream” makes for a cheap resolution to a story, then so does; “You only beat the bad guy in a dream and now you are back in the battle again.” You may even get by with that one if I can be seduced into believing the next solution will actually matter. Do it enough times, and I am ready to surrender the hero to his nightmares.

In all of these cases, the villain, the monster, the mysterious force or natural disaster, all seem to emerge from out of nowhere, being imposed upon the plot almost as if hoisted in on a machine themselves. Think of the wolves from The Grey. They don’t really make sense in themselves; they are just there to make the characters miserable and kick off a plot point there never really rises above the implausibility of its central villains.

I get the fact that a certain degree of mystery can help drive a story and pose interesting questions for us at its start, but somewhere along the line, we need to get a sense for what is happening and what can be done to stop it? We can even be mislead about that sense of a possible resolution, providing the revelation that our hero’s strategy won’t work after all makes sense when we come to it. If mystery persists, however, the central characters need some plausible course of action to pursue, at least a hope that this or that stratagem could help to resolve their problems. Otherwise, they are just thrashing around. Hell, they can even thrash mindlessly for a scene or two, but if we don’t develop a meaningful sense of the problem and a meaningful response to that problem at some point, then I for one start to lose interest.

This is the central damage done by villains that are just their to be villainous; they often leave us with no sense of how the heroes are to engage them at all, no ideas about what could possibly work. An apparently infallible villain renders the actions of a protagonist pointless. A pointlessly evil villain deprives the conflicts they create of depth and richness, and a one dimensional villain tends all-too-often to set us up for a one-dimensional hero. If the events that kick off a story have no motivation behind them, it is unlikely that the responses to them will have much more depth to them in the end.

I think writers sometimes leave the villain undeveloped to convey a sense of mystery; they sometimes leave a natural disaster or a mysterious force unexplained in order to convey a sense of hopelessness. This approach can certainly be interesting, for a moment anyway. If that hopelessness persists throughout the whole story line, then, I for one start to say; “let the bad guy’s have them!” (Even monsters gotta eat,)

A villain, a monster, or even a natural disaster must have some logic to it in order to give the protagonists a meaningful chance of beating the challenge. Letting us wonder about them works early in a story line, but if the answer to our questions comes too late (and by ‘too late’, I mean after the central strategies of the protagonists are put into play), then this doesn’t help the story. Generating a problem with no central rationale to it is a lot like solving one without addressing the problems posed in the opening scenes. In the latter case, the heroes do not engage the problem; in the former, they cannot. The effect is the same. It makes us care less about the main characters.

As with any kind of writing, I’m sure there are times when all of this works anyway, but in most cases, the kind of narrative I am talking about just seems lazy. You won’t get an interesting answer if you ask a stupid question. Likewise, you will not get an interesting hero out o a conflict with a poorly written villain, and you will not get an interesting 3rd act out of a story whose first act is just literary vandalism. A villain too has to make sense. Her actions must be part of the story. They must fit in the story.

And by ‘fit in the story’ I do not mean that we should learn all about the true nature of the villain or mysterious force in the last pages of a novel or the final minutes of a movie as we also learn why some strategy we could never have imagined from the story-line actually works after all. In such moments, we get both Satan and a god on a machine.

It’s a wedding of sorts!

They make a happy couple!

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When Good Gods Go Bad

12 Wednesday Dec 2018

Posted by danielwalldammit in atheism, Religion, Uncategorized

≈ 13 Comments

Tags

Apologetics, atheism, Emotion, Fiction, God, Hatred, Problem of Evil, religion, Stories

Chick Tracts

The God of Chick Tracts always struck me as something of an asshole.

It’s a common assumption in religious polemics at least, that you can’t really hate someone you don’t believe in. You see this assumption appearing arguments for and against belief in God. Christian apologists often claim that atheists hate God, and that this hatred is proof positive we really know he exists after all. Atheism is little other than rebellion against God, at least according to this view. For our own part, atheists often respond to the accusation that we hate God by pointing out that we actually don’t believe in him. We can’t possible hate God, so the argument runs. We don’t even believe in him. Each of these arguments seem to rest on the assumption that to hate God implies that one must believe in him. At least we we have that in common I suppose, believers and unbelievers. We agree that it doesn’t make sense to hate a being you don’t really believe in.

Except I don’t agree with that either.

To those who insist on this assumption, I have two questions:

Do you watch Game of Thrones?

How do you feel about Joffrey?

Admittedly, this gambit loses a little force when the answer to the first question is ‘no’. Still, t think those familiar with the HBO series or the books it’s based upon will get the point pretty quickly. This hateful little brat prince is hardly unique in fiction. Felix Unger and Frank Burns used to get pretty deep under my skin. I didn’t believe in them either. I certainly don’t believe in Lucy from Peanuts, but when she pulls the football out from under Charlie it makes just wanna reach right into the screen and throttle the little two dimensional mini-troll. Can’t stand the Police Chief in most detective shows or the principle in countless school settings. The list of fictional villains, nitwits, jerks, and outright assholes goes on and on. None of these characters are real. But yeah, I hate them!

(Here, I can practically hear my mother saying; “no, you dislike them intently,” but no, I hate them.)

I really don’t think my feelings about these characters are all that unusual. Joffrey, at least, seems to have inspired quite a few haters out there. Hell, I reckon that’s something else believers and unbelievers can generally agree on. The little bastard was awful. Got off with an easy death!

Anyway, the point is that you can have a strong emotional reaction to a being you know very well isn’t real. People ought to keep that in mind when they opt to battle it out over the existence of God.

I should add that this point can flow in both directions or even (I suppose) at a tangent to the usual stakes. I can love Jesus when he’s preaching tolerance and compassion just as I can be outraged at a God who would tell Abraham to kill his own son. The inconsistently might bother me if I actually believed either story to be true. As it stands  these are just emotional reactions to a being I don’t really think is real, as described by different narrators with different messages at different times in history. Maybe if I expected a degree of literal truth from these stories, I would feel the need to work out my feelings about the big Guy In the Sky, but I don’t. I can accept that stories about this being will trigger different feelings at different times, and no reaction at all in many instances. Consistency might be a desirable property of arguments and theories, but it a square peg to pound in the round hole of emotions.

What makes the difference between a vision of God that inspires me and one that pisses me off may be an interesting question, but the answer to that question is, for me anyway, essentially a function of story-telling.

I suppose a Christian too could acknowledge some role for the story-tellers in his feelings about God in different parts if scripture. There is a certain flat-footed evangelism that runs contrary to such an approach, but not every believer checks their sense at the church door. I’ve known quite a few who could handle such questions with subtlety and care.

I realize this may not be the most serious theme in debates over the existence of God, but it certainly does seem ubiquitous. I think to some degree this is a reflection of the debate-camp subculture that has developed around people interested in haggling out the issue. I’ve certainly engaged in my share of such matters, but one does not live by polemics alone, and not everything that people think or feel about the topic in question comes prefigured for purposes of argumentation. We can argue the rational merits of any given position, but nobody should really be surprised to find that participants in these arguments also have an emotional reaction to the topic.

We’re allowed to be human.

So are they.

***

I know I’ve made this argument before. I just wanted to take another crack at it.

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The City & The City …Just One Review

09 Wednesday Mar 2016

Posted by danielwalldammit in Anthropology, Books

≈ 6 Comments

Tags

China Miéville, Culture, Custom, Detective Novels, Distinction, Fiction, Reading, Recognition, The City & The City

The CityIt was quite sometime ago that a friend of mine passed along a copy of China Miéville’s book, The City & The City. As with an awful lot of fiction, no sooner had I decided it looked interesting than I set it aside in pursuit of other (probably less interesting) things. Anyway, I finally dug it out awhile back and for a time I set a few other things aside in order to pursue its own story. I had to unsee some work to read this book, so to speak, but that’s a sub-reference you (my own reader) won’t get for a few more paragraphs. Just keep reading and I’ll pretend I didn’t notice.

***

I’ll try to keep the spoilers to a minimum, though you may pick up a thing or two. I’m almost sorry about that.

***

This is a detective story. I hate detective stories, but I love the premise behind this one, and I can think of no better genre to explore that premise. The City & The City is definitely worth a read.

This book is narrated by Inspector Tyador Borlú as he investigates the murder of a young woman. Borlú is reasonably reliable as far as narrators go, but there is a lot he doesn’t understand, and a few things he’s really not allowed to understand, or at least to acknowledge, which of course limits his ability to communicate with us in the novel.  It isn’t that Borlú is consciously deceptive or even outright deluded, at least I don’t think so. But he he operates under extraordinary constraints.

His constraints are of course our own, at least until we put the book down and resume our interest in other things.

The central problem of this story is that Borlú lives in a world that is only partially available to him, and to the others in that world. Our detective lives in the city of Besźel, an Eastern European city in the modern world. At it happens, the streets of Besźel are interwoven with those of another city, Ul Quoma. You might think this is a quaint way of talking about the neighborhoods of a single community, but if you thought that, you would most certainly be very wrong. These are two very different communities, nestled right in together in the same physical space. The difference between them is maintained by the most stringent expectations about what one may or may not recognize, who one may speak with and who one may not. To see the wrong person is in fact a terrible crime in this world. To speak to the wrong people – unthinkable. And thus the cities are parted, not by physical space, but by social space maintained and enforced by an arcane set of expectations which Borlú and the others in this story accept at face value. This is simply how their world works, and the practice of discriminating between those one can acknowledge and those one cannot are, to the best of their knowledge and ours, absolutely inescapable

Borlú lives in Besźel, and the body of the young woman was found in Besźel as well, and so we begin the narrative in his half of this bifurcated universe. If you have begun to suspect the plot will wander over the boundaries of this world and into the City of Ul Quoma, then you are catching on. And if you were thinking that poses a problem for Inspector Borlú, then you are definitely on target here. It doesn’t help that the murder victim had been conducting research that threatens the boundaries between these communities, or that someone with power in both would seem to be manipulating the details of the investigation. Our narrator is thus caught between two worlds, allowed only to see one of them, even as his case spills out and over the boundaries between them. We (his readers) have only to follow along in the hopes that he will negotiate the boundaries between Besźel and Ul Quoma and find the truth of the matter before it destroys him.

It’s a rich story, and I’m not even going to attempt to capture its full impact. What most fascinates me about this book is Miéville’s sense of the boundary maintenance between the two communities. Physically contiguous, they are separated only by social artifice. How does one unsee people even as he passes them on the street? Is it a choice? A habit? Perhaps, even a pathos of sorts?

People in this world do actually see each other, of course, and if they didn’t, they would literally trip over each other (and worse), but they must not be seen to acknowledge each other. And so they carry out their lives according to an elaborate set of expectations governing just how one goes about unseeing what is literally right in front of them, and all around them, to be sure. Miéville put a lot of thought into how this works. His treatment of the subject is both fascinating and compelling.

What doesn’t work for me is the murder mystery itself, but then again, they never do. I always feel pulled along by such stories, teased by the obligation to try and resolve the central mystery, knowing full well that I will do so at precisely the moment the author finally decides to tell me what I really need to know. It’s not a game I enjoy, and unfortunately The City & The City is no different on this account. I wish I could say otherwise, but that’s how I feel about the central crime drama here.

The mystery of the crime itself is of course interwoven with that of the differences between the two cities. The one draws us (along with Inspector Borlú) into the other, gives us a reason to cross the boundaries, to explore regions we ought not even to see, and to learn a bit about just how these cities work. As I read the book, I must admit, it is the conventions of the city and the practice of seeing some things and not others that interests me. In effect, it is this premise of the story that provides the actual dramatic tension I feel in reading the book. I am never quite as invested in solving the crime as I am in learning how the cities work. So, the murder mystery leaves me a bit ambivalent. It’s not what interests me about the book.

I suppose we could explore the same theme with something a bit more like a high fantasy theme or a conscious exploration of mysticism, but that would have shed way too much trite all over the story. The theme of a detective novel lends the whole thing a pedestrian quality that keeps us focused on the perfectly  human, even mundane, parts of this world. I can’t help thinking that’s critical to the full concept. This isn’t a story of mystical realization. It is a story about perfectly normal people struggling against perfectly mundane limitations to learn something that ought to be plainly visible to all. That this knowledge isn’t visible is uncanny, infuriating, and intensely interesting.

That which is unseen is, after all, right there!

But so is the act of unseeing.

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Slavery: Still Sexy After All These Years! (Or Yes Quentin, There is a Reason it’s Called an ‘Exploitation’ Flick)

23 Thursday May 2013

Posted by danielwalldammit in History, Movies

≈ 16 Comments

Tags

Django Unchained, Fiction, Film, History, Movies, Quentin Tarantino, Race, Sex, Slavery

imagesJust what is the relationship between the events occurring inside a film and those occurring the world in which we live? I will not say the ‘real world’, because of course part of the problem here is that the ‘worlds’ in which we live are saturated by myriad narratives, preconceptions, and cultural artifacts which shape our understanding of events in ways few of us can fully understand. So, when we see something happening in a movie, it is important to grasp that this too is one more of those narratives, one more thing that shapes the meaning of events in own own lives. Just how it does that, well now that is a tricky question.

It’s a difficult question with a number of plausible answers, but I think we can rule out one answer at least, the one that says; ‘nothing’. Quentin Tarantino would seem to disagree, at least he does when he’s angry and dodging interesting interview questions. In a now infamous rant, Tarantino took the position that there was no relationship between on-screen violence and real world violence, refusing even to elaborate on this position or to explain his reasons for taking it.

(Oh yeah, SPOILERS!)

To be fair, it was the interviewer, Krishnan Guru-Murthy, that fielded the stance in a sort of complex question (at 4:30 in the clip below), but for all his belligerence Tarantino does not disavow the position attributed to him. Guru-Murthy claims that his own research has produced little in the way of an explanation from Tarantino, just a consistent repetition of this stance. It’s a common enough claim in any event, often serving as a defense mechanism, both for those that create guilty pleasures and those of us who enjoy them (and yes, I do count myself among the guilty). So long as there is no relationship between fantasy violence and real-world violence, one is free to explore the one while taking no responsibility for the other.

But of course the world isn’t that simple, and as Guru-Murthy also points out, Tarantino was happy to link his latest film to the serious issues of slavery, even taking taking credit for starting a dialogue about that subject. He also takes credit for the cathartic violence he puts on screen, but has little to say about the ‘real’ violence perpetrated by the villains against their slaves on that very same screen. But are we really to believe Tarantino means us to feel emotional investment for Django’s acts of revenge while sitting guiltless through the torture and slaughter of innocents throughout the film? Does the elaborate detail of ‘Mandingo fighting’, the ‘hot box’, and the vicious execution of a slave torn apart by dogs leave the viewer without any sense of complicity for the “brutality of the violence of the day?”

Tarantino’s own writing belies this approach. His villains are too clever, their speeches too fascinating, their point of view far too prominent in these moments to dismiss. The victims of this violence remain largely silent. We know that the Mandingo fighters suffer and regret what they are forced to do, we know that Django’s love interest is defiant, and that she suffered greatly for it, and we know that the man torn apart by dogs could not bear to fight again; none of these characters really say much in the movie. They do not introduce interesting plot twists; they do not dazzle us with fascinating speeches. They suffer just as we would expect them to, providing us with no insights at all into the world in which they live.

Those that inform us about this movie are the killers. DiCaprio’s Calvin Candie explains quite clearly what he expects of his slaves before setting the dogs loose. Dr. King Schultz (played brilliantly by Christoph Waltz) introduces us to the fascinating world of bounty hunter, one who would see a man shot in front of his child but who balks at seeing another torn apart by dogs. And of course we understand Django’s motives; his goals are the driving force of the movie; it is his killings which provide us with the final pay-off, the glorious conclusion of the film.

It is consistently the logic of those enacting violence which Tarantino fleshes out for us in this film, and as always, he does it ever so well. The victims are there to suffer, and to provide a pretext for the ‘cathartic’ violence that is to come. In short, Django consistently draws us into the viewpoint of the killer; the movie does this when the killer is a villain, and it does it again when he is a hero. This is the myth of redemptive violence presented in a special way that allows us to have our cake and eat it too. We can enjoy Dicaprio’s sadism just as we will enjoy his downfall. If there is a moment of regret in a scene, or a brief period in which we might wish for the suffering to simply stop, well that moment passes in due time, transformed as it were into the rationale for yet another killing. In Django, we understand the killers, the victims are simply silent.

But villains gotta be villainous, don’t they?

Of course they do, but what is lacking in Django is a genuine counter-balance, any real sense of what is at stake in this story for anyone who is not a killer. When our principal reward at the end of the story is the death of the bad guy (DiCaprio or Jackson, …or so many others), we are never far from the mindset of the killer. In the end, Django leaves a wanted man, accepting this fate without so much as the blink of an eye, his wife drawing a rifle as they ride off from the scene. Two lives now wholly engulfed in violence. If this is a victory, it is at least partially a victory for the world of villainy.

…which brings us back to the initial question, just how does this story relate to the realities of violence in everyday life? I honestly enjoyed much of this movie, as I did with Inglorious Bastards. (Yeah, I know about the spelling, take that Quentin!) But I always feel a little uncomfortable with Tarantino films, precisely because I can’t escape the feeling that I am witnessing something a little creepy; it’s a bit like watching a teenager doing something truly inappropriate in public. Whether it is sheer joy with which Tarantino employs the n-word just a little more than his faux-realism rationale would warrant, or the raw celebration of violence which is present in every film he makes, I cannot help but to think the limitations of Tarantino’s stories are the limitations of the world in which he lives, the world of narratives informing his sense of sense of the world off-screen. And I cannot help but think he is inviting us to normalize those limitations and accept a world of cartoonish violence as a moral standard of sorts.

It is not as though the world lacks for people who think this way off-screen.

One can see it in that interview above as well, when Tarantino tells us that Django deals with the ‘Auschwitzian’ characteristics of slavery. (I guess it’s a word now, …why not?) Honestly, I don’t know what he meant by saying that Americans have dealt with the Native American holocaust, but he clearly seems to think this movie is saying something about the realities of slavery, so much so that when people talk about the film, Tarantino takes that in itself to be a meaningful dialogue about slavery. And yet there is little about this film that could shed light on the nature of slavery as an historical institution.

Tarantino’s choice of comparison is telling, because the story of Auschwitz is largely the story of cruelty for the sake of cruelty, and this is Tarantino’s vision of slavery itself. In one of the most interesting (and insightful) speeches of the film, Dr. Shultz tells us quite frankly that he deals in dead bodies while slavers deal in live bodies; bother are economic institutions. So, why then do slaves first make an appearance in this film walking a great distance barefoot in the cold? Sure, one could probably come up with a plausible explanation based on historical possibilities. But the more plausible answer is that Tarantino wanted to show us the raw cruelty of the institution. More to the point, he did not wish so much to tel us something about slavery as to use slavery as a pretext for telling us something about cruelty. Tarantino presents this story of raw cruelty for us again in the sadistic foremen whom Django will kill part way through the movie, and again in the institution of Mandingo fighting. He presents it in virtually everything that DiCaprio’s character and Samuel Jackson’s character say and do. In this film slavery is not an economic enterprise, it is the conspicuous consumption of sadists, an extravagance of cruelty for the sake of cruelty.

One should add that it is a highly sexualized cruelty that one sees in this film. While Tarantino denies that rape appears in the film, its presence in the narrative is prominent. Django is quick to tell us that his wife will be used as a comfort woman, a prospect apparently confirmed by the words of another villain later in the film. Throughout the plantations in this film, black women appear in full southern dress, lounging about, the clear implication being that they are there for the pleasure of the owners. And of course when Django is captured, it is his genitalia which first get the attention of his would-be tormenters. The slaves portrayed in this film exist largely for the purpose of providing the villains with cheap thrills. And while this sort of thing was certainly not absent in the real history, its significance has completely eclipsed those of plantation agriculture in Tarantino’s narrative.

Slavery insofar as it appears in this movie, is little other than a sadistic fantasy. It is a source of pleasure for the villains, and fleeting moments of pain for the victims about whom we learn so very little. And perhaps we could sweep all of this under the rug and just call it entertainment were it not for one thing; Tarantino himself wants to tell us this movie is about slavery.

A part of me wants to say that it simply isn’t.

But of course that too would be inaccurate. The movie is about a vision of slavery bearing little resemblance to the actual institution, but perhaps one with a disturbing resemblance to Tarantino’s own thoughts about race, violence and sexuality. More disturbing still is the very real possibility that this film tells us still more about the general public’s understanding of the relationship between these features of American society.

***

I suppose all of this brings us full circle to the cathartic violence that Tarantino is talking about. On one level, that would be cathartic violence against the perpetrators of slavery as Tarantino envisions it. On another level, if I am right that Tarantino is getting off on the sadistic possibilities available in a world of slavery, that he is inviting his audience to enjoy the same possibilities, then the catharsis is perhaps a bit more personal. It is the moment in which one erases his or her investment in the sadistic themes presented here through the actions and words of the villains. It is a moment in which one finally rejects the villain despite his cleverness, and perhaps it is a moment in which one rejects one of the ills of history (at least insofar as it is almost dealt with in the form of that villain). The destruction of the villain thus becomes our own ritual purification.

I have my doubts as to where that leaves us in the end.

71.271549
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