Mel came over last night… we ate and lounged and talked about a lot of stuff. She’s got a wicked sense of humor, and can crack me up easily. She’s also altogether too willing to tickle.
She was kind of afraid to tell me that she is a born-again Christian… I can understand that, given my pretty solidly agnostic stance. We discussed it, and I think that there’s a good comfortable middle that can be met. She’s a pretty fascinating study… I’m really glad I met her. Much deep talk about motivations and directions. Many facets there, and I care for her very much. I’m quite confident that those feelings are reciprocated.
Steak comes from the Saxon word steik, meaning “meat on a stick”.</p>
Newt was a bit spazzy last night. Very Energetic.
(this may be a *slight* exaggeration.)
|dc: the new frontier
found via boucoup kev… thanks! I’ll certainly look into this.. I totally dig the art style. Clickie for biggerness. </p>
A Whitewashed Earthsea
How the Sci Fi Channel wrecked my books.
By Ursula K. Le Guin</p>
On Tuesday night, the Sci Fi Channel aired its final installment of Legend of Earthsea, the miniseries based—loosely, as it turns out—on my Earthsea books. The books, A Wizard of Earthsea and The Tombs of Atuan, which were published more than 30 years ago, are about two young people finding out what their power, their freedom, and their responsibilities are. I don’t know what the film is about. It’s full of scenes from the story, arranged differently, in an entirely different plot, so that they make no sense. My protagonist is Ged, a boy with red-brown skin. In the film, he’s a petulant white kid. Readers who’ve been wondering why I “let them change the story” may find some answers here.
When I sold the rights to Earthsea a few years ago, my contract gave me the standard status of “consultant”—which means whatever the producers want it to mean, almost always little or nothing. My agency could not improve this clause. But the purchasers talked as though they genuinely meant to respect the books and to ask for my input when planning the film. They said they had already secured Philippa Boyens (who co-wrote the scripts for The Lord of the Rings) as principal script writer. The script was, to me, all-important, so Boyens’ presence was the key factor in my decision to sell this group the option to the film rights.
Months went by. By the time the producers got backing from the Sci Fi Channel for a miniseries—and another producer, Robert Halmi Sr., had come aboard—they had lost Boyens. That was a blow. But I had just seen Halmi’s miniseries DreamKeeper, which had a stunning Native American cast, and I hoped that Halmi might include some of those great actors in Earthsea.
At this point, things began to move very fast. Early on, the filmmakers contacted me in a friendly fashion, and I responded in kind; I asked if they’d like to have a list of name pronunciations; and I said that although I knew that a film must differ greatly from a book, I hoped they were making no unnecessary changes in the plot or to the characters—a dangerous thing to do, since the books have been known to millions of people for decades. They replied that the TV audience is much larger, and entirely different, and would be unlikely to care about changes to the books’ story and characters.
They then sent me several versions of the script—and told me that shooting had already begun. I had been cut out of the process. And just as quickly, race, which had been a crucial element, had been cut out of my stories. In the miniseries, Danny Glover is the only man of color among the main characters (although there are a few others among the spear-carriers). A far cry from the Earthsea I envisioned. When I looked over the script, I realized the producers had no understanding of what the books are about and no interest in finding out. All they intended was to use the name Earthsea, and some of the scenes from the books, in a generic McMagic movie with a meaningless plot based on sex and violence.
Most of the characters in my fantasy and far-future science fiction books are not white. They’re mixed; they’re rainbow. In my first big science fiction novel, The Left Hand of Darkness, the only person from Earth is a black man, and everybody else in the book is Inuit (or Tibetan) brown. In the two fantasy novels the miniseries is “based on,” everybody is brown or copper-red or black, except the Kargish people in the East and their descendants in the Archipelago, who are white, with fair or dark hair. The central character Tenar, a Karg, is a white brunette. Ged, an Archipelagan, is red-brown. His friend, Vetch, is black. In the miniseries, Tenar is played by Smallville’s Kristin Kreuk, the only person in the miniseries who looks at all Asian. Ged and Vetch are white.
My color scheme was conscious and deliberate from the start. I didn’t see why everybody in science fiction had to be a honky named Bob or Joe or Bill. I didn’t see why everybody in heroic fantasy had to be white (and why all the leading women had “violet eyes”). It didn’t even make sense. Whites are a minority on Earth now—why wouldn’t they still be either a minority, or just swallowed up in the larger colored gene pool, in the future?
The fantasy tradition I was writing in came from Northern Europe, which is why it was about white people. I’m white, but not European. My people could be any color I liked, and I like red and brown and black. I was a little wily about my color scheme. I figured some white kids (the books were published for “young adults”) might not identify straight off with a brown kid, so I kind of eased the information about skin color in by degrees—hoping that the reader would get “into Ged’s skin” and only then discover it wasn’t a white one.
I was never questioned about this by any editor. No objection was ever raised. I think this is greatly to the credit of my first editors at Parnassus and Atheneum, who bought the books before they had a reputation to carry them.
But I had endless trouble with cover art. Not on the great cover of the first edition—a strong, red-brown profile of Ged—or with Margaret Chodos Irvine’s four fine paintings on the Atheneum hardcover set, but all too often. The first British Wizard was this pallid, droopy, lily-like guy—I screamed at sight of him.
Gradually I got a little more clout, a little more say-so about covers. And very, very, very gradually publishers may be beginning to lose their blind fear of putting a nonwhite face on the cover of a book. “Hurts sales, hurts sales” is the mantra. Yeah, so? On my books, Ged with a white face is a lie, a betrayal—a betrayal of the book, and of the potential reader.
I think it is possible that some readers never even notice what color the people in the story are. Don’t notice, don’t care. Whites of course have the privilege of not caring, of being “colorblind.” Nobody else does.
I have heard, not often, but very memorably, from readers of color who told me that the Earthsea books were the only books in the genre that they felt included in—and how much this meant to them, particularly as adolescents, when they’d found nothing to read in fantasy and science fiction except the adventures of white people in white worlds. Those letters have been a tremendous reward and true joy to me.
So far no reader of color has told me I ought to butt out, or that I got the ethnicity wrong. When they do, I’ll listen. As an anthropologist’s daughter, I am intensely conscious of the risk of cultural or ethnic imperialism—a white writer speaking for nonwhite people, co-opting their voice, an act of extreme arrogance. In a totally invented fantasy world, or in a far-future science fiction setting, in the rainbow world we can imagine, this risk is mitigated. That’s the beauty of science fiction and fantasy—freedom of invention.
But with all freedom comes responsibility. Which is something these filmmakers seem not to understand.
1 year ago – Tree, political compass poll, air stiff, Trained MM, flight method poll, programming notes</p>
2 years ago – Clinton and Demi?, Sounds of Christmas, planned epidural
3 years ago – Aragon’s verse, social crit, no *taunting*?!, WiD gig
4 years ago – Meeting Tarpo and Isis in a day, liberal actors don’t bail don’t leave, planet of the apes remake.
Current Mood: Wondering where the future’s going to lead</p>
Current Music: Bob Rivers – Chipmunks Roasting On An Open Fire mp3
Chipmunks roasting on an open fire
Hot sauce dripping from their toes
(“Oh! That tickles!”)
Yuletide squirrels fresh filleted by the choir
They poked hot skewers through their nose
(“Ow! Wrong end, ya cowboy!”)
Everybody knows some pepper and a garlic clove
Help to make them seasoned right
Tiny rats with a crisp golden coat
Will really hit the spot tonight
And now when Santa sees his tray
(“Ho ho ho ho ho ho”)
There’ll be some homemade chipmunk jerky for his sleigh
(“Mmmm…Hey, look at that!”)
And every hungry child is gonna spy
To see if chipmunks really sing when they fry
And so I’m brushing on some honey glaze
To keep them crisp and juicy too
Let’s hope they get served many times many ways
Tasty Chipmunks; good food
“On that, Mr. Cole, ”
“Yes, sir, Mr. Seville?”
“Would you mind handing me the barbeque sauce? I am starved!”
”Oh,no problem Dave. Hey listen, you best be havin’ two of those drumsticks, because they’re oh-so tiny and there ain’t much meat upon ‘em”
(“What about animal rights, Dave?”)
“Put a sock in it Melvin”
“You know, for years people said you over-rated hamsters were my meal ticket. Now I guess you could just say you’re my meal!”
“That’s a good one, Dave…I always knew you was the funny one in the group!”
And so I’m offering some recipes
From chipmunk pie to chipmunk stew
I’m not really sad that it ended this way
Furry chipmunks screw you
“Did you hear that Melvin? Melvin? Mellllviiiiin?”
“Why, I’m sorry Dave, did you want Melvin? There’s plenty of Thagadore left though…”