Can a machine write a story?

Last month OpenAI boss Sam Altman announced that his company had created an AI tool that could write a short story. You know the most depressing thing about this news? Sam Altman did not wake up one morning and, just on a whim, ask his software to write a story. His company worked really hard to get it to write a short story. No doubt some tech worker missed a kid’s birthday, maybe even birth, in order to work long hours on it. They plagiarized and polluted for it. Getting an AI that could write a short story was something they had to pursue.

Here’s the thing: even if it was easy and cheap and green, why would anyone want a machine that can write a short story? Is there a shortage of people who can write stories? Is writing stories a chore, like washing clothes or cutting grass? Are people crying out for relief from the burden of being creative?

I made it clear enough last week that I think this Gen AI thing does have limited uses (“a moderate productivity booster in certain situations”, as my commenter, The Director from MilitaryRealism.blog summed it up). I’m not qualified in any very technical fields like engineering, logistics or programming, but I’ll add that I can see potential uses that could be important.

Writing is more my area; I have an English degree and I’ve worked in teaching and libraries. So I don’t hesitate to say that short fiction is a glaring example of something that’s not a useful application of Gen AI by any measure.

Full disclosure, I haven’t read the AI-written short story. I read a lot, but I don’t happen to have a Gen-AI-short-story-shaped gap in my reading.

To illustrate this post, more cringe-inducing AI imagery from social media pages purporting to be about history and mythology

It’s not inevitable

The Guardian got some writers to react to the short story written by the machine. Most of the reactions ranged between ‘Wow, this is actually pretty good’ and ‘I fear for my livelihood.’ Kamila Shamsie pointed out that GenAI will reproduce and reinforce all the biases, all the racism and sexism etc, in its ‘training materials.’ For Nick Harkaway, the story is an ‘elegant emptiness’ and being moved by it is like a bird falling in love with its reflection in a window. He emphasises that ‘none of this will just happen. These are policy choices, and the end result will be the result of a conscious decision.’

That’s what the hype-mongers want us to forget, isn’t it?

The future promised by Gen AI is one where nobody is paid to do anything creative or educational; instead, computer programmes owned and controlled by a few billionaires create flat, uncanny versions of what humans used to create. For some reason we are all supposed to be excited about this. But whether you feel excitement or dread, either way you are making the mistake of treating the whole thing as inevitable and natural.

Actually, there are humans making decisions and investments at every link in the chain here. And some, like CD Projekt Red, are making decisions unfavourable to the spread of AI in creative industries.

I don’t think AI is going to put writers out of a job. The vast majority of us are already out of a job. Tech bros claiming to have made a programme that can do what we do, and expecting us to be pleased about it, is just the latest in a long line of insults, and far from the worst.

I say ‘far from the worst’ because I don’t think these AI tools are about to revolutionise the publishing industry, any more than they have revolutionised any of the other things they were supposed to revolutionise. It will mess with a lot of people’s livelihoods and it will muddy things up for a while. But it will not be a game-changer. The wave may leave behind puddles but it will recede. So I don’t believe the tech bros’ dystopia will happen.

GenAI will probably carve out and retain certain niches, for better or for worse, in the publishing industry. But a machine can’t actually write a story. There’s a few basic category errors at work here.

Another one found in the wild. See if you can spot the warrior who has jumped 200 metres into the air.

Why can’t a machine write a story?

First, the ‘AI’ that exists today is not some sentient machine-mind (‘alternative intelligence,’ in the disappointing words of Jeanette Winterson). Maybe some day we will have that, and our android cousins will write their cyber-Iliads, which will be very cool. I’ll be the first in line. But that’s a whole different thing. I saw someone in a comment section gushing that ‘we have taught sand to dream.’ But what we have now is just glorified predictive text. Whether in written or visual or musical form, it just shows you the lowest common denominator of what’s already out there in the culture.

Second, writing is about expressing your feelings and communicating your thoughts and experiences. A computer doesn’t have these things. It can imitate the way humans express them, provided a bunch of rich people decide to devote stupendous sums of wealth to making it do so. But again it’s not the same thing.

What if the computer’s imitation gets so good we can’t tell the difference? And aren’t some human writers also basically hacks, unoriginal, etc?

First, every writer does not have to be Arundhati Roy for the point to stand that a computer can’t be Arundhati Roy. Stories are rooted in material reality and our experiences of it. No training materials or prompts can produce something like The God of Small Things, which is viscerally a story of its time and place.

Or imagine if The Grapes of Wrath had been written using pre-existing ‘training materials.’ It would have portrayed the Dust Bowl refugees as incendiary vagrant criminals and the cops as brave defenders of civilisation.

Even if the imitation seems to be perfect and seamless, the above points will tell. Stories are not pure exercises in form. They are about things. The most important ones are about things nobody has written about before. Even science fiction and fantasy stories are about themes and feelings that really exist.

Instead of Steinbeck’s wonderful and evocative descriptions of the human impact of the Dust Bowl, we would get ‘Chapter 2. The Dust Bowl took place in the 1930s and was caused by a number of factors. First…’ Front cover image from 1939. Uploaded to Wikimedia Commons by Folktroubadour

AI in Gaming

I first became familiar with the phrase ‘Artificial Intelligence’ in relation to games. AI is what tells the mercenaries in Far Cry to search the jungle for you systematically when you hide. It’s what tells the hostile army in a Total War game to oppose your cavalry with spears. AI is what’s breaking down when your little villager takes a shortcut past ten enemy catapults, or when a Nazi stands out in the middle of a Norman field waiting for you to shoot him.

You’d think GenAI would have massive applications in gaming. But so far it’s been a real damp squib in that sector.

Recently PCGamer reported on a wild example. Basically, Microsoft made a demo based on a game called Quake 2 using Gen AI. The project used three megawatts of energy – the output of tens of thousands of solar panels. All that, for what? An incoherent, uncanny experience that looked vaguely like Quake 2 and that gave players motion sickness. For context, Quake 2 (that is, a version of Quake 2 that is the full game and that actually works and doesn’t make you nauseous) was made over 25 years ago by a team of just 13 people.

Something to think about: if they had managed to remake a part of the game exactly as it was with AI, that would have been hailed as a triumph. But… Then we’d just have a game level that already exists.

How do I explain this for people unfamiliar with games?

Imagine if I rewrote one chapter of Killing Floor by Lee Child, and presented it here on The 1919 Review expecting your adulation. But in my rewrite, the names of the characters change every other paragraph, and the font somehow gives the reader a headache. I rewrote it by listing every time a particular word is used then arranging the words according to arcane predictive rules. And, somehow, it took the entire output of a nuclear plant just to power the special laptop I used to do this.

Screenshot from Deus Ex (2000), which predicted this like it predicted everything else. Ion Storm & Eidos Interactive

That’s the essence of the Quake 2 situation, as best I can explain it using books as a comparison, but to be fair (and as I’ve made clear above), GenAI has actually produced more polished results when it’s confined to text.

In both cases the same questions arise: what is the purpose of this? How can the results (good or bad or just trifling) possibly justify the expense and the effort and the pollution? Why are we all expected to indulge Big Tech even when the project into which they are pouring so much wealth is largely unnecessary where it is not actually harmful?

GenAI is in many ways like crypto: the tech bros have invented a new toy and they demand that everyone takes their toy seriously. They demand that we sacrifice the future of the planet in order to sustain their toy. This toy is at the heart of an investor frenzy. They promise that when their toy has taken over the world, it will right all the wrongs it has done along the way (crypto, we were told, will actually save energy by putting all the banks out of business, thus reducing their emissions to zero; in the same way, we are told that AI will actually come up with clever ways to save energy.)

In other ways GenAI is not like crypto. It actually has utility, even if you agree with me that this utility cannot on balance be justified. It can be a lot of fun. It can make it easier to write emails. Its potential in technical fields is an open question.

But it has no utility in writing stories or developing videogames. It’s actually difficult to wrap your head around how stupidly wasteful and contrived such projects are. Even if that wasn’t the case, and even if the results were decent, it’s not worth one single artist losing their livelihood.

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2 years on, has the “AI Revolution” changed your life?

‘It’s going to change everything,’ people said, and even though they said it more often with dread than with excitement, it appeared they accepted it as inevitable.

When Generative AI became headline news a little over two years ago with the launch in late 2022 of ChatGPT, it was not simply oversold. It was hyped to within an inch of its life. Two years on, it has not revolutionized the way I work or live – thankfully. I’ve read about some ways that it’s useful and a lot of ways that it’s making the world a worse place. But in this post I want to pause and give you a full catalogue of how Generative AI has actually affected my life, as a snapshot of where the AI Revolution stands from the point of view of one individual in April 2025.

Of Bots and Men

At work I use a program called Canva and in early 2023 it drew my attention to its AI image generator, which I had a great time playing around with for a while. ‘Of Mice and Men but Lenny and George are Robots’, ‘World War Two in space’ and ‘alien spaceship in County Westmeath’ were all fun. People look doughy and uncanny, and machines look like they were drawn by someone even less mechanically literate than me, and the whole thing looks like the first three results in a Google Image search have been mashed together indiscriminately. It looks as uncreative and unimaginative as it is. But it’s fun, and I could plausibly claim that it was work; I wasn’t messing around on the job, I was upskilling to rise to the occasion of the AI Revolution. It is fortunate that I had that excuse in my back pocket, because all my colleagues could see ‘battle of Stalingrad with lasers’, ‘atom bomb on Dublin’ and other brainsick adolescent creations whenever they looked at the drafts folder. All in all, I can vouch for Generative AI as a fun toy.


As an aside, in the two years since, it’s possible this tool has gotten worse. In 2023 it gave me photorealistic rusty hobo robots in a Steinbeckian dust bowl scene; today it gave me cute robot mice.

And here’s another time AI impacted my life: I wrote about it here.

Who prompts the prompters?

Gen AI is all about writing prompts. But two years on it feels like we humans are the ones being prompted. Tech companies are nagging us to use the AI tools they’ve spent so much money on, usually in contexts where I don’t want or need to. If I tap my phone screen the wrong way, it invites me to use AI tools to help me do internet searches. No thanks, I’m fine. Right now as I write this, over on the margin of this computer screen, WordPress is inviting me to use AI to generate a title, featured image and feedback for this post. The good people at WordPress don’t appear to understand that I’m writing because I enjoy writing.

Ned Beauman, in his 2022 novel Venemous Lumpsucker, was referring to this kind of thing when he wrote about an ‘almost libidinal desire to relinquish autonomy.’

My wife uses AI at work, for actual work. She uses it to write formal emails, and I’ve seen the results, and I think that’s a great use for these AI tools. I understand that there are other things like this, where AI can do boring jobs quickly. So as well as being a fun toy, it help you write the kind of letters there are already templates for online.

Tsunami of Slop

In fairness to Generative AI, it has significantly changed social media, in that it’s polluted my feeds with stupid, tasteless, uncanny or offensive imagery, sometimes accompanied by text riddled with inaccuracies and written in AI’s characteristic style of pseudo-intelligent noncommittal blandness. As far as I can see, two particular online constituencies have seized on Generative AI. The first group is anti-refugee protesters, who make hideous posters for their events and fake photographs to rile people up. The second group is Facebook pages about history and archaeology. They illustrate their chatbot-written posts with, say, a picture purporting to show Brian Boru at the Battle of Clontarf – but Clontarf has been transformed from flat coastal fields to high foggy crags, and Brian Boru looks exactly like the Witcher. Or a Viking ship landing on the Irish coast – in the shadow of a ruined Norman castle that couldn’t have been built, let alone fallen into ruin, for another 400 years.
One image I saw in my news feed claimed to be of Dublin. The buildings and quays looked Dublinesque, but they were all in the wrong place. Now what I think is that the image was designed to provoke me into pointing out in the comments that, say, Grattan Bridge was missing, or that Bono’s hotel is upside-down. I resisted the urge but I could see that thousands of people had already commented. There is probably a whole category of AI post now that’s just correction bait. Again, AI is prompting us now, not the other way around.

It doesn’t make any sense, but it’s a good way to maximise engagement – far more effective than, for example, posting something funny or good or clever. 

While all this social media stuff is ugly and tacky, it’s at least interesting, in a Black Mirror kind of way. And image generators can be fun, and it’s nice to have software that can write the less enjoyable type of email. That’s it, really.

Maybe my experience is typical of a sizeable layer of people, maybe not. But if we make a rough balance sheet of the AI Revolution based on my experience, then it definitely wasn’t worth burning all those fossil fuels for.

Tune in next week for my thoughts on the question, ‘Can a machine write a story?’ And to finish off this post, here’s a small sample of the tsunami of slop that’s come down my news feed these last two years. 

’til next week, Happy Birthday Solider.

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Barbara Kingsolver and Trotsky

The Lacuna is a 2009 novel by Barbara Kingsolver about a young Mexican-American man, Harrison Shepherd, growing up in the early 20th Century. During his fictional life, spent back and forth between Mexico and the USA, he encounters real events and people, such as when he sees the Bonus Marchers beaten and gassed off the streets of Washington DC in 1932, makes friends with Diego Rivera and Frieda Kahlo in Mexico City, and back in the US finds himself in the firing line of the McCarthy Red Scare. 

It’s a great novel that deserves all the praise and prizes that it got. In this brief post I want to zoom in on one interesting feature: its depiction of the Russian revolutionary Leon Trotsky. Trotsky, who lived in exile in Mexico city from 1937 until his murder in 1940, occupies a prominent place in the story. His depiction is something I’m going to praise but also criticize. 

Kingsolver, who cut her teeth writing about miners’ strikes, treats the workers’ leader Trotsky with great sympathy. He appears to Harrison as a short, strong man with the dignified appearance of an older peasant, who is passionate about animals, nature and literature as well as politics. He employs Harrison as a secretary and, when he stumbles upon the young man moonlighting as a writer, gives him precious encouragement. An exile from Stalin’s Soviet Union, Trotsky is more melancholy than angry. Harrison is a witness to Trotsky’s murder and is haunted by the experience. 

As an example of how she depicts Trotsky, in his affair with Frieda Kahlo (they did the dirt on their respective partners, Natalia Sedova and Diego Rivera), Kahlo comes out looking a lot worse than him. Harrison is Kahlo’s friend and confidante, and he judges her more harshly, probably because he knows her better; Trotsky is up on a pedestal and largely escapes judgement.

Trotsky, Natalia Sedova arriving in Mexico, escorted by Kahlo

Kingsolver is interested in Trotsky but far more interested in Kahlo. We see Kahlo’s sharp edges, we are invited to judge her at times. But I guess this is because the author decided to make her a central character, to spend more time and energy on her. Trotsky gets comparatively less attention from the author, so we get a simpler picture of him. This is all fair enough. But this leads the novel into some avoidable missteps. 

Self-portrait by Frida Kahlo

Funerals

It’s not impossible that Trotsky would have employed Harrison as a secretary. Harrison is a veteran of the Bonus March, a supporter of ‘the dictatorship of the proletariat,’ (understood by him to mean democratic workers’ power) and a member of the leftist artsy milieu in Mexico City. Harrison is also young, and Trotsky was more politically tolerant toward younger comrades. But Harrison is, for all this, not very knowledgeable about or active in politics. I think Trotsky would have sooner entrusted such a key role to members of his own organisation, the Fourth International. 

The 1932 ‘Bonus March.’ Jobless veterans camped out in Washington DC were subjected to a violent military crackdown.

So it’s a very strange moment when Harrison asks how Stalin and not Trotsky ended up in charge of the Soviet Union. This should be something which Harrison already knows about and has developed opinions about, if he’s living and working in a trusted position in Trotsky’s household.

It’s a problematic moment in a bigger way, too. The real Trotsky wrote entire books about Stalin’s rise to power, so we know what he would have said. The explanation he gives in The Lacuna is wide of the mark. Trotsky, earnest and visibly pained by the memory, tells Harrison that he missed Lenin’s funeral because of a devious prank by Stalin. And so Stalin took centre stage at the funeral, and so, in this version of events, he became the sole possible successor to Lenin. I remember being told this by my school history teacher as an aside, as a touch of pop-history anecdote material, but I haven’t come across it anywhere since. Maybe it’s true as far as it goes, but it doesn’t answer the question.

And it’s definitely not the first answer Trotsky would give. In real life, Harrison would want to put the kettle on and pull up a comfortable chair before he asks Trotsky how Stalin ended up in power. Trotsky would not have spoken of personal intrigues; he was far more partial to grand socio-economic analysis and theoretical debates. If you open up his key book on the subject, The Revolution Betrayed, you can see this in the title of the first chapter; it’s not ‘Stalin: Devious Bastard’ but ‘The Principle Indices of Industrial Growth’.

A mural by Diego Rivera depicting Tenochtitlan. Harrison’s stories are set in the same era as this painting

Yeoman farmers

In another strange scene, Trotsky laments the latest news from Russia: now Stalin is going after the ‘Yeoman farmers.’ But Stalin had started in on the ‘Yeoman farmers’ (kulaks) in earnest from 1929, and this conversation is happening around ten years later! In the early 1930s forced collectivisation and the ‘liquidation of the kulaks’ led to famine and terror on a huge scale. It was one of the most traumatic episodes in Soviet history and Trotsky wrote about it at the time. It wouldn’t have been news to him by the time he was in Mexico. In any case by then there were no kulaks left. 

Trotsky in The Lacuna seems to regard these ‘Yeoman farmers’ as a key constituency whom nobody should mess with. This wasn’t the case. While Trotsky condemned Stalin’s onslaught on the peasantry and national minorities, he would still have used the derogatory term ‘kulaks’ rather than ‘Yeoman farmers.’ He saw the kulaks as a problem (though he advocated gradual and peaceful solutions) and earlier (in the mid-1920s) he condemned his opponents, including Stalin, for enacting policies that enriched and empowered this social layer.

‘pedantic and exacting’

In 1938 Trotsky’s son and close comrade Leon Sedov died in Paris, likely poisoned by Soviet agents during a routine surgery. In a powerful obituary, Trotsky expressed regret over his own often difficult personality:

I also displayed toward him the pedantic and exacting attitude which I had acquired in practical questions. Because of these traits, which are perhaps useful and even indispensable for work on a large scale but quite insufferable in personal relationships people closest to me often had a very hard time.

A more rounded novelistic portrayal of Trotsky would show us this ‘pedantic and exacting’ side, which was not a figment of Trotsky’s imagination – and perhaps his own occasional pang of regret over it. As his secretary, transcribing his extensive writings, Harrison would not only experience on occasion this ‘very hard time’ but would read practically every word Trotsky wrote. Someone as raw and open as Harrison would (rightly or wrongly is of no concern here) see some of Trotsky’s writings as ultra-principled or hair-splitting. This would especially be the case in the late 1930s; the extermination of all his allies and supporters back in the Soviet Union left Trotsky isolated, debating with the few survivors over questions which had no easy answers.

Trotsky with Ramón Mercader moments before the assassination. From The Assassination of Trotsky (1972, dir. Joseph Losey)

This depiction of Trotsky is incomparably more accurate and fair than the gothic, depraved supervillain we see in the 2017 Russian TV series. The 1972 movie The Assassination of Trotsky, starring Richard Burton in the title role, is a fair depiction and, I think, a good movie. We do see some steel in Trotsky’s character along with vulnerability. But I should mention that while I am far from its only defender, it was heavily and widely criticized as a film.

It’s believable and accurate that Harrison would encounter Trotsky and see a kind, curious, haunted man. But since he lived with him for a few years, he would see that like many great leaders and writers, Trotsky had his more negative personal traits. A more nuanced Trotsky, like the multi-faceted Kahlo we come to know in The Lacuna, would be all the more sympathetic for our having seen various sides of him. 

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I’m finally reading… Lee Child

Years ago I started but did not finish a Lee Child book, Killing Floor. The things I remembered most vividly from that book, more than a decade later, were the eggs and coffee. Why did I return, all these years later? A few reasons, but most of all because I wanted to see if the eggs and coffee still tasted the same.

You see, people compare Lee Child to Ian Fleming. Both phenomenally successful and violent page-turners, obviously. But the similarities run deeper. James Bond and Jack Reacher are not really about violence, or even sex. A large part of the appeal is travel, food and drink. James Bond flew to glamorous places and pickled his insides with fancy wining and dining. (I had to put down You Only Live Twice half-way through because the entire novel to that point was travelogue). Jack Reacher buses and trudges through un-glamorous places – close-to-home, bleak, dirty places – now and then dropping into a diner to order some eggs and a litre of coffee.

Now I’ve read three Jack Reacher novels in three months (that’s fast for me). Here they are, in the order that I read them:

And here’s what every Jack Reacher cover looks like. (Original photo here: https://commons.wikimedia.org/wiki/File:The_Night_Road_-_Flickr_-_Dusty_J.jpg)
  • The Midnight Line (2017), Lee Child, read by Jeff Harding (Jack Reacher finds a class ring from his officer training school in a pawn shop, and sets out on a quest to find its owner)
  • Killing Floor (1997), Lee Child, read by Jeff Harding (twenty years and twenty books before The Midnight Line, Jack wanders into a small town only to be arrested and accused of a murder)
  • One Shot (2005), Lee Child (Five people are gunned down by a sniper in a city. The man arrested for the crime asks for one Jack Reacher – who’s already on his way)

What first piqued my interest was learning that the author is actually English. So it’s an English guy writing these familiar and jaded descriptions of the underbelly of the US heartland. That adds a layer of interest to every sentence. Why is he doing this, how is he getting away with it, and how is it so good?

Child doesn’t describe the taste or texture of the eggs or coffee in pornographic detail (It’s usually something like, “He had some eggs. They were good. The coffee was good too.”) But the food descriptions still get readers in the door. Can’t explain why, but I always feel rewarded when Reacher consumes his mundane fare.

Here follow more generalisations about Lee Child based on the three books I’ve read.

There are always cars. I’m car-blind – when an author tells me what kind of car it is (“a big coup deville” or a “large domestic model” or a “tan Buick”) it means nothing to me, and I don’t know what a given make or model is supposed to signify. But I know that James Bond cars are always that decade’s version of “fancy and expensive” while Reacher’s are more down-market. Reacher always borrows a few cars in his adventures and the reader gets to drive that particular car vicariously. The car stuff mostly goes over my head but I like how he drives across the States describing the natural and social scenery as he goes; transport is a medium through which to read the landscape. The circles described by irrigation booms are like marksmanship targets. A Georgia prison is described almost like the fortress of some evil sorcerer. In Midnight Line a truck driver briefly becomes a laconic therapist to Reacher.

Reacher always finds a way to have sex without it seeming shoehorned in. It might be central, it might be a sub-plot or it might be a coda, but it’s got to be in there. Reacher manages this while clearing a low bar that James Bond doesn’t: he’s not awful to women. He actually likes them, without a hint of contempt, and they like him.

This is good going for Reacher, when you consider that he regularly goes three or four days without changing his underpants (but we are assured that he uses “a whole bar of soap in the shower,” a defense which I find endearingly juvenile). If he carries a toothbrush, can he not carry some folded briefs and socks, maybe in his inside jacket pocket? But I guess Child is wiser not to get into all this.

I’m not a total novice to this kind of book. I’ve read Point of Impact (1993) by Stephen Hunter – the novel on which the movie Shooter is based. It’s a near-contemporary of early Lee Child and a cracking read. But the main character is an asshole. Not just to women, but also to men who talk too much (‘like a woman’).

Swagger and Reacher are both alienated from society (a character as lethal as them, while also being a boy scout, would be just unsettling). But Swagger is bitter, the distillation of a kind of post-Vietnam War resentment. Reacher starts off by telling us he’s angry that a president he didn’t vote for is cutting funding to the coast guard, an echo of his own redundancy – but he’s not bitter and he doesn’t retreat to his cabin in the mountains. He is alienated from the state and thinks the cherished myths of his society are bullshit. But he loves his country, and not in an abstract sense. He likes plenty of its people, its nature, the towns and cities and the vitality that flows on its highways. It’s a machine and he takes quiet delight in how well he understands its workings. Like what city a fugitive will be in after X number of days, what type of hotel he will stay in, and what false name he will adopt.

The stories always end with Reacher and his hastily-assembled team of allies assaulting the warehouse (or mansion or snowplough depot) where the bad guys are holed up. There will be not more than half-a-dozen action scenes before that, punctuating the story with thuds and cracks. My gruesome favourite was when he stalked five guys through a house in Killing Floor. But it has to be established that a guy is very bad before Reacher kills or maims him in a crunchy way; if the guy is only sort-of bad he only hurts him in a crunchy way. 

One of the conventions of this genre relates to texture. Supposedly we are here for the murder mystery. But that’s not enough. In between the murdery and mysterious bits there are the moments where we are given access to insider information about interesting things like forgery, prescription drug abuse or guns. But even that’s not enough. In between all that, we want to follow the protagonist through a whole lot of relatable everyday life stuff like car rentals and jean sizes. The battles, puzzles and lore, in order to seem real to the reader, must be connected by a tissue made of the same stuff as our real and tangible world. The headbutts have to go crunch, and the narrator has to seem like an insider, but most importantly the eggs and coffee have to taste right. 

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Framing devices in “The Call of Cthulhu”

Re-reading HP Lovecaft’s work over the last year, I was struck by how he uses a complicated apparatus of nested narratives in his landmark short story “The Call of Cthulhu.”

Here they are:

This elaborate framing has several effects:

  • It adds to the verisimilitude of the story; the various pieces of the puzzle pseudo-corroborate each other. As with all the best Lovecraft stories, the movement from the sober and uptight New England puritan to the flailing and slobbering tentacle monster is stately enough that we accept the transition.
  • It makes for a good mystery story, with the central horror only gradually revealed and the reader’s imagination given plenty of room to play in the meantime.
  • It reinforces the theme, stated in the opening paragraph, about how the ‘piecing together of dissociated knowledge’ will reveal terrifying truths about reality and ‘our frightful position therein.’ Each of the stories is a rip in the fabric of reality as we know it through which we glimpse a sliver of what lies beyond.

Lovecraft’s cosmic horror was rooted in North American racism but it resonates with people who don’t share these ideas because it transcends this base and reaches toward a more universal and – to me, at least – cathartic doomerism.

Cover image, attributed to Dominique Signoret

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Gundam: Requiem for Vengeance (Guest Review)

We’ve got a guest post for you today, a review of Netflix’s Gundam: Requiem for Vengeance by freelance writer Charlie Jean McKeown.

Stories and machines are ultimately driven by people, yet Gundam: Requiem for Vengeance lacks the personality needed for the gritty mecha war drama it tries to be. Since its 40th anniversary, the Gundam franchise has been boasting ambitious projects like SEED Freedom (2024) in theatres, Witch from Mercury (2023) on TV, and in gaming Gundam Evolution (2022). (i )

This new Netflix series follows Zeon soldiers- the usual antagonists- in the closing months of the ‘One Year War.’ It’s an attempted love letter for Gundam fans, with a touching homage to the original 1979 show in its opening titles and what must have been a laborious effort to give the classic mecha designs such glorious detail. However, Requiem has little identity of its own; it has little to offer old fans and nothing accessible for new ones. More disappointingly, it does open up genuinely interesting themes which could have given the show some life if they were navigated by decent characters.

All images from the Gundam Wiki: https://gundam.fandom.com/wiki

Requiem actually inverts some of Gundam’s most central themes; empathy becomes vengeance, and our protagonist is an enlisted mother rather than the usual child soldier. ‘Time’ is not a new theme for the franchise but had never received the same attention it enjoys here albeit with some overly-obvious motifs. The survival element of other Gundam series is heightened in Requiem too, as we watch the losing side struggle against a war-winning weapon. These themes, though, are only minimally engaged with. While one could blame this on the many action scenes, Gundam has always used battles to deepen its narratives rather than merely embellish them. Furthermore, Requiem still has plenty of peaceful moments in its three-hour runtime. The fault is really found in the show’s repetitive exposition soaking up what should be time spent on challenging characters so that they may develop and investigate these concepts.

All of this culminates into the most disturbingly mishandled theme of Requiem: nationalism. Mirroring the Cold War narrative of Nazi Germany (ii), Zeon had always been presented as an evil fascist regime with ordinary soldiers fighting for their homes. Interestingly, the One Year War – the definitive conflict of the franchise – is renamed here as ‘the Revolutionary War.’ Is this how the fascist Principality of Zeon sees itself? Do they view the One Year War the way Confederates saw the American Civil War? It’s a fascinating angle to investigate. However, it feels like Requiem takes up a ‘both sides matter,’ approach, with no real discussion of Zeon’s war crimes (wiping out half the Earth’s population, for instance). Instead, our apolitical protagonist is “just following orders.” While her final monologue is clearly intended to convey a lesson she learnt, it gives us a rather warped justification for continuing to fight under a swastika-esque banner.

Banner of the Principality of Zeon

While the writing is poor, Requiem’s establishing shots want you to know money and effort went into making them. Requiem is Gundam’s first CG animated production since MS IGLOO (2004), and the improvement in quality is staggering. By tightening their dimensions, the old mecha designs remain credible in today’s science fiction scene while the body language of these giants conveys a surprising degree of emotion. The facial animations are unfortunately less expressive, and to come across they often rely on the wonderful new soundtrack provided by award-winning composer, Wilbert Roget II. Netflix’s first Gundam production does look lovely as a whole, but its writing encourages little confidence in the live action film they announced in 2018. I doubt Requiem will see a second season, which is a terrible shame given its potential; if the writers could make some course-corrections in a new season and rummage through those ideas they raised, then Gundam: Requiem for Vengeance could be forgiven for these first six dismal episodes and actualise its own distinct identity.


(i) While Evolution was closed down in a year, it gave Overwatch 2 a little competition in the hero-shooter market
before collapsing under its embarrassing micro-transactions.
(ii) A narrative, it should be noted, now being revised by historians who are acknowledging the Wehrmacht’s
complicity in war crimes.

Games that warped my young mind: Tiberian Sun (1: Setting and Story)

When I was 11 or 12 – or maybe it was some older and more embarrassing age – there was a field near my house that me and my friend called the Tiberium Field. You had to dash across it in twenty seconds flat, otherwise Tiberium poisoning would kill you and turn your body into a visceroid, an aggressive and indestructible blob of human tissues. In our heads, we were in Command and Conquer: Tiberian Sun.

So far, so nostalgic. This is a post where I talk about a 1999 strategy game, maybe to recapture the remembered leisure and innocence of the childhood that surrounded it.

But I never got past a few missions of Tiberian Sun, never owned my own copy, and I like it a lot more now than I did back then. If we’re talking nostalgia, I was always more of a Red Alert guy (who could have guessed?). At the time I thought Tiberian Sun was, in comparison to Red Alert 2, drab and self-serious, with a clumsy interface and confusing missions. Earlier this year when I bought the whole Command and Conquer back catalogue for a tenner, I didn’t expect that this would be the game I spent the most time on, the one where I actually finished both campaigns, the one that would haunt my imagination.

So this is not all nostalgia. Something else is going on here, and I’m going to try and find out what. And even within the nostaglia, there’s the question of how this game worked its way into my imagination in such a way as to turn the grass of that neighbourhood field into an expanse of deadly and valuable green crystals.

So how did this game warp my young (and not-so-young) mind?

This screenshot is from the expansion pack, Firestorm

The Tiberium-haunted world

The first point in favour of Tiberian Sun (henceforth TS) is its setting. The world of the original Command and Conquer was sort of improvised. The developers said, let’s have something like the spice from Dune 2 – it works so well as a resource-gathering feature – but transplanted to another setting. The result is Tiberium, a strange green crystal native to some alien world which has begun to spread over Earth’s surface. There are two factions: the Global Defence Initiative (GDI), a one-world military defending the status quo, and the Brotherhood of Nod, which is part-Tesla, part-ISIS, part Comintern, and obsessed with using the Tiberium for obscure ends. My impression, having played only a little of the original C&C, is that whatever worldbuilding there is starts to peter out around there. The setting is just an excuse to have a war game on the Dune 2 formula. (I’ve talked about the Red Alert spin-off elsewhere.)

Tiberian Sun takes the worldbuilding more seriously. A couple of decades after the first game, the Tiberium infestation has advanced, and Planet Earth is now terminally sick. GDI and Nod are still fighting over ruined cities and land choked with alien crystals and alien weeds, skies torn by ion storms, poisoned air, mutated genetics. For more on the setting and its applicability as a prophecy for our times, I recommend this article from Eurogamer by Robert Whitaker.

Tiberian Sun captured that late-1990s sense of some vague impending doom. But in 2024 it offers a strange kind of relief. You can retreat into the barren comfort of a world that is already destroyed, where there is little to save. There are unexpected inheritances from Dune: like in Herbert’s book, the ground beneath your feet is more than a setting, it’s an actor with powers of life and death over the fragile humans and machines crawling on its surface.

The applicability to climate change and global warming (which we all absolutely knew about in the 1990s even though those in power did nothing) are obvious. It’s a metaphor for our times in another way too. GDI are coded as “good” but we never see them actually doing, or even promising, anything good. They never help anybody or change anything, until the Forgotten twist their arms. We side with GDI only because Nod are obviously and extravagantly worse. Yes, GDI is Harris and Nod is Trump. Neither side offers a way out of war and ecological destruction. But Nod at least offers its supporters the shallow pantomime of its rituals and chanting and bloody spectacles.

Mutants, ruins and the glow of Tiberium. It’s a vibe

The setting itself tells a story: when we move our little men across the map, we see ruined high-rise buildings, contrasted with space-age-looking new settlements with solar panels and bunkers and greenhouses: the civilian world has retrenched into smaller and more resilient communities. Meanwhile war has advanced as a science. It’s all laser guns and visored helmets, giant walking battle mechs, cyborgs, explosive throwing discs, orbiting battle stations. Humanity is spending and innovating to fight more effectively, even as we have less and less to fight for. While the Red Alert setting just pits an evil faction against a good faction, Tiberian Sun (TS) takes place in a world that is messier and more ambiguous. In Red Alert, we don’t know why the Soviets are attacking the status quo. In TS, we don’t know why GDI are defending it.

Videogames then were violent, militaristic, imperialist – not in a the conscious and blatant way that Call of Duty is now, but as it were by default, by reflex. C&C is no exception. The GDI versus Nod struggle is at base the same old Imperialism versus Third World struggle, with the legitimate struggles of the global majority (“disenfranchised nations” seduced by Nod) packaged as evil fanaticism. In TS it is less explicit, filtered through layers of deniability in the worldbuilding, but we get signals, such as that the villains in Tiberian Sun have names that are Arabic, Latin and Slavic (he’s literally called ‘Slavik’). The Latino baddie is a drug smuggler who menaces the southwestern United States, playing into racist tropes. We see one South Asian guy in the ‘Global’ Defence Initiative, but the rest of the goodies are Americans.

The Forgotten

The music is not as conspicuously brilliant as that of Red Alert 2 but it has a greater range. There are moments of foreboding (‘Valves’) and loss (‘Approach’). If Red Alert 2 is a violent cartoon, Tib is a 1980s-90s action sci-fi movie – the vibe, to me, is sort of like Terminator 2, Aliens and Paul Verhoeven.

The melancholy themes probably belong to the third faction in Tib – unplayable and lightly sketched, but essential to the story (I suppose if GDI is Harris and Nod is Trump, they are Jill Stein or Cornel West). This is a loose confederation of clans who call themselves The Forgotten. They are people mutated by Tiberium exposure – insulted and belittled as ‘shiners’ by GDI and Nod alike, distrustful of GDI due to past atrocities, persecuted and imprisoned by Nod. They are few but they are pretty lethal in a fight.

The Forgotten are the conscience of this story. In the GDI campaign, it is only by overcoming prejudices and working with the mutants that GDI can defeat Nod. In the Nod campaign, you prevent any possibility of an alliance between GDI and mutants through a nasty trick. There’s more going on here than is usually the case in this series.

An actual Tiberium field

Tiberium Wars

In Part Two of this review I’m going to be looking at two other strengths of Tiberian Sun – the cutscenes (you heard me) and the gameplay. But before I move on I want to comment on the 2007 sequel, Tiberium Wars and its expansion Kane’s Wrath (I haven’t played Tiberium Twilight). What I have to say about Tiberium Wars (TW) underlines what I’ve just said about TS.

I’ve played a lot of TW and enjoyed it, but it doesn’t have the same grip on me as its 1999 predecessor. And I don’t think it’s just nostalgia.

The graphics and the smoother interface are a huge upgrade on TS, marking a rapid development in just 8 years. The story is solid, far less silly, and it’s all in all a lot of fun to play. But the setting doesn’t feel as real to me, and I think I know why.

Tiberium Wars leans with dispiriting heaviness into a ‘Global War on Terror’ framing. Magazine ads for the game talked about fighting terrorism. Technologically, GDI has been downgraded – no more stomping robots. This is explained in-game as being due to budget cutbacks, but the effect of it (and probably the intention) is to make everything look a few-score degrees more like Iraq or Afghanistan, or some near-future 9/11. The expansion Kane’s Wrath thankfully leans back the other way, and was clearly crafted by people who loved TS.

From a 2013 EA press conference about a new C&C title. If you have eyes, you can see the vibe they’re going for. And it’s not ‘morally dubious 1990s action sci-fi movie’

TW’s setting is retconned so that the Tiberium-infested world is divided up into uninhabitable Red Zones, Yellow Zones which are in a state of social collapse, and Blue Zones which are stable and prosperous. This is a marked contrast to Tiberian Sun, in which everywhere – Egypt, the USA, Norway, Germany, Britain, Mexico – was one of two things: a Yellow Zone or a snowy Yellow Zone. In TW, the Blue Zones we see are all either in the USA or in Germany. We always see them menaced and under assault. The first few missions are a bizarrely close remake of Red Alert 2, with the baddies invading hallowed American landmarks like the White House and the Pentagon (No! Please don’t destroy the White House or the Pentagon! Anything but them!). The Imperialism vs Third World framing is much more obvious and open. It’s no accident that the Forgotten are left out of the story of TW – they appear only as an Easter egg and they talk like super mutants from Fallout.

At base the reasons I don’t like it as much are political; I think it’s a shitty way to portray the majority of the human race, as if they have nothing better to be doing than besieging and menacing whatever dull place you live. But you don’t have to agree with that to see that these are two very different types of story and setting. Tiberium Wars is the same old C&C story about protecting the status quo. Tiberian Sun has more depth and ambition.

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I’m Finally Reading… Ruth Rendell

Or, the housing arrangements of psychopaths

A Demon in my View (1976), The Face of Trespass (1974), Dark Corners (2015)

My first knowledge of Ruth Rendell was probably of seeing her name on library paperbacks around the house when I was a kid. I didn’t read her stuff until many years later after reading some glowing endorsements of her by authors I like. The only title of Rendell’s available that day on my library audiobook app was one called A Demon in My View. So I went ahead and downloaded it. That was back in March; by August I had read three out of her many dozens of novels published across nearly fifty years. I’ll give a run-down of each of the three, in the order in which I read them.

I should add that I listened to these novels as audiobooks, performed by Julian Glover (A Demon in my View) and Rick Jerrom (The Face of Trespass and Dark Corners), who both do a great job.

By the way, the reviews below contain some spoilers.

A Demon in My View

I was hooked on this story, right from the fucked-up start to the ironic and satisfying finish. A Demon in My View is about a man who once terrorised his fictional London suburb as a serial killer, but who has settled into a safer middle age by getting his kicks repeatedly ‘murdering’ a mannequin who lives in the neglected cellar of his shared, rented house.

The killer is a despicable sadist but Rendell manages to get us into his head, convinces us to feel an iota of sympathy for the wretch. He was raised by an aunt who judged him because he was born outside wedlock. There is something pitiable in his uptight, timid, neurotic narrative voice. But this timidity is the flip side of his murderous compulsions; he has a drive to feel power over others by causing fear and pain. The most horrifying example is the flashback scene involving the baby, which nobody who reads this book will ever forget until the day they die.

The whole story revolves around the tension between his hidden world and the intrusive realities of a shared housing arrangement. What we’ve got here is a story that’s fundamentally about housing, a theme that is important in all three books of Rendell’s that I have read.

The story is firmly rooted in its time and place, not in a way that dates it but in a way that enriches it. A new flatmate moves in; he has a very similar name to the secret serial killer, which provides all kinds of opportunities for confusion and subterfuge. In the 1970s, when this story is set, the post was crucial to people’s social lives and communications, and the only phone in a shared house word likewise be a shared one. The new arrival is really our main narrator and protagonist, but the long agony and final comeuppance he inflicts on our serial killer is unintentional and indirect.

Here is a writer, I thought, who can keep me in suspense, craft a believable social and cultural world, invest me in the practical limitations of comms in the 1970s, and horrify me with a rounded portrait of a human monster.

The Face of Trespass

The Face of Trespass is about a young writer living semi-feral in his friend’s cottage on the wooded margin of London while his girlfriend, a married woman, tries to convince him to murder someone. The story is bookended by a brilliant introduction and conclusion which involve a completely different cast of characters but which provide a resolution to the story. The day is not saved, but at least we get a significant consolation at the very end and from an unexpected source.

Murder is of course not relatable. But Rendell surrounds it, links it intimately, with things that are closer to our everyday lives. There’s lust, greed, envy. Again, housing. Scarcity of funds. An elderly mother living in another country and slowly dying; linked to this, a stepfather with emotional baggage and a language barrier.  Aunts and old school friends. Pets. Obligations.

Apart from the aforementioned bookends, we stay in the point of view of the main character, the struggling young writer. Everyone reading The Face of Trespass will be able to see clear as day how our main character is being set up. I found this a little frustrating; we hate protagonists who are fools, who walk blithely into trouble. But in the end all was forgiven. Rendell’s playing a deeper game. The girlfriend is out to set him up – that’s obvious. What’s not so obvious (though all the clues are there) is (spoiler alert) how he will get out of it in the end.

Even more so than in A Demon in my View, seventies comms are central to the novel; much of it revolves around people waiting by phones.

One surprising highlight of this novel is the stepfather. I don’t know if I would pick up a book based on some blurb about a stepfather-stepson relationship. But the murder/mystery/thriller genre here serves as a vehicle for an amusing and, in the end, quietly moving sub-plot.

Dark Corners

Dark Corners was Rendell’s last novel, written decades after the other two above. It is still very good and gripping, but rougher around the edges.

At one point in the novel the main character, again a writer, laments that the characters in his work-in-progress all speak like they come from the middle of the century. This must be Rendell’s little dig at herself; the characters speak and often act like they just walked out of the much more affordable London of A Demon in my View. Modern things like the internet are mentioned a lot, but usually bracketed with some comment like, ‘Johnny supposed that this was the way things were these days’ – as opposed to thirty years ago, before Johnny was born.

Like The Face of Trespass, pets and vets come into it. But it’s housing that’s at the heart of the novel, in ways that highlight how the issue has changed radically since the 1970s. The landlord in A Demon in my View is a rather greasy and selfish character; the landlord here is a struggling writer renting out the upstairs of his late Dad’s house so that he can work full-time on his novel. But his tenant proves to be far more trouble than he’s worth. He refuses to pay the rent and refuses to move out.

Meanwhile a rudderless young woman finds her rich friend dead, and proceeds to occupy her apartment and wear her clothes. But impersonating a rich person, like taking in a tenant, proves to be more trouble than it’s worth. In this case, that’s putting it mildly: she is brutally abducted and held for ransom.

These two characters are a few degrees of separation from one another and only meet toward the end, in a very fateful encounter.

Again, the literal setting is London – and there’s a powerful sense of place – but on a deeper level the setting is the human mind struggling with fear and longing. Rendell’s home turf is psychology. As in A Demon in My View, we see the murderer from the inside out, and he is wretched and pitiful. Unfortunately, like The Face of Trespass but more so, we have a struggling writer who spends a chunk of the novel just frustrating us with his passivity and short-sightedness.

There is a third, and subordinate, storyline about a retired man who rides buses for fun (Yes, a third storyline. All three of these books are very slight, but it’s amazing how much is crammed into Dark Corners). This storyline is fun, but its culmination is the retiree very suddenly foiling a terrorist bomb plot. Rendell has this humane side that allows her to write stories where a modest older man becomes a hero thanks to his eccentric hobby, and that is satisfying. The problem is that the bombing has nothing to do with anything else in the novel, and has no impact on subsequent events.

This is one of many strange improbabilities and coincidences that, to my mind, constitute gaps in the fabric of the novel. It’s all the more obvious when compared to how tight-knit the other two books are. It appears the novel is kind of about coincidences – stories criss-crossing in a Pulp Fiction kind of a way. Coincidence played a role in the others, but to a lesser degree, and with more subtlety, and to better effect.

Dark Corners is readable and satisfying, but rough and flawed. In addition to its other virtues, it is rough and flawed in interesting ways.

First and foremost, these were gripping thrillers that passed the time for me while I did chores or drove. But the contrasts between the younger writer and the older, between the younger London and the older, added a great deal to the experience for me.

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Before the Fall (3): Notes on The Dawn of Everything

How was life in the Stone Age? Was it all people shooting arrows at one another and falling into glaciers, or was it one big hippy commune? In this chapter Graeber and Wengrow leave behind the Enlightenment and start a chronological study of the earliest human societies, focusing on society in the Upper Paleolithic period. That’s the final part of the early Stone Age.

The first thing I learned here was pretty surprising: that humans lived spread out all over Africa for hundreds of thousands of years, with strong regional variations that meant they would have resembled giants, elves or hobbits to one another.

Then homo sapiens formed from a composite of all these very different sub-species, moved north into Eurasia, met the Denisovans and Neanderthals, and in time absorbed them.

The authors then perform the by-now familiar shuffle: thesis, antithesis, forget-about-either-thesis. Hobbes was wrong, Rousseau was wrong, here’s a better explanation.

A monument at Gobekli Tepe, Turkiye. On which, more below…

Princely Burials

What about the Upper Paleolithic ‘princely burials’ in Europe? Are these richly-endowed graves (countless person-hours of labour would have gone into them) not evidence of a rigid social hierarchy like what Hobbes said?

Reading about ‘princely burials’ myself in other contexts, I’ve always been annoyed at the assumption that they necessarily indicate social hierarchy, aristocracy, etc. An individual might be honored in death for all kinds of reasons – for heroism in battle or skill in crafts, for being an inventor, for saving lives, for poetry, for metallurgy, for mystical visions. They might be honored for being great leaders, but this doesn’t  mean they were aristocratic ones.

Graeber and Wengrow make an argument along similar lines to my guesses – that these were eccentric and visionary outsiders-turned-leaders, who were buried in riches (at a time when no-one was buried in death, with or without riches) as much to contain their potentially dangerous magic as to honour them. They construct a whole argument which takes in anthropology and archaeology, and which I found convincing.

So far they are at least living up to one promise: their version of history is interesting and rich. Our heads are full of capitalist and feudal assumptions, so we have to remember that just as objects which travel a long distance do not always indicate mere ‘trade’, elaborate burials do not always indicate ‘ruling class.’ The past is so much broader than the scopes of capitalism and feudalism through which we view it.

Monuments

We see the same pattern with the other type of artefact from the Stone Age which, like ‘princely burials’, are often taken up as proof of hierarchies and kings: grand, monumental buildings.

I’ve come across the fantasies of Graham Hancock and Ancient Apocalypse, in which Göbekli Tepe is evidence not just of kings but of an entire ancient empire which was more advanced than us and which left cryptic celestial warnings, and which colonized the world ‘teaching’ people how to do agriculture and masonry. A lot of the narrative hinges on the idea that Stone Age hunter-gatherers could not have built great stone monuments.

Even though they are so florid and fantastical, such arguments have always struck me as paradoxically boring. There is a more-than-open attitude to the possibility of Atlantis, aliens and giants, but dull pedantry when it comes to ancient societies. In unimaginably long stretches of time, tens of millennia, Graham Hancock cannot see any possibility that hunter-gatherers could have established a society which was, even temporarily, capable of building something like Göbekli Tepe.

Like with the burials, here Graeber and Wengrow give us a bit of archaeology (Stonehenge, Göbekli Tepe, Russian mammoth houses) and a bit of anthropology (such as the Inuits, the Nambikwara in Brazil and the Plains Indians in the United States) and paint a picture that is colourful and informative. I mean colourful not like atlanteans came along one day to teach us about seeds and the principle of the lever, but more like nomads and hunter-gatherers vary their social systems from season to season, sometimes gathering for great coordinated collective labour, sometimes dispersing to hunt and gather.

A small part of the Gobekli Tepe site from around 9000 BCE

It’s satisfying to get a clearer idea of how these monuments were built. But the best part is the idea that these societies changed their whole social system regularly to meet their needs. In one part of the year, the modern Nambikwara roamed in small bands, all these bands being under the strict control of one chief. For the other part, they gathered in hilltop villages, became democratic and communist, and had chiefs who functioned more like a social welfare department than a monarchy. But across all the other examples, no single pattern prevails: among one people, there is a settled season of strict hierarchy and a roaming season of relative informality. Among another, police functions are strictly seasonal and rotate between clans on an annual basis.

The anthropological stuff gives an insight into how Stone Age peoples might have lived: gathering after a great hunt with a superabundance of food and other goods, feasting, processing materials, building great structures, then dispersing again when the seasons turn.

A reconstruction of a house built from mammoth bones, Japan, 2013

What’s the upshot of all this?

Prehistoric society was not a realm of innocence or animal instinct – our ancestors were politically sophisticated.

Prehistoric society was not all one thing. A grading of one political system alongside each economic mode (for example, claiming that hunter-gatherers live in ‘bands’, horticulturalists under ‘chiefdoms’) is too pedantic even as a general guideline.

And here I kind of get the ‘plague on both your houses’ approach to Rousseau and Hobbes, because it’s ultimately from Rousseau that we get the idea that people pre-state and pre-class were simple and innocent.

However, this wouldn’t have been my understanding, and I’m broadly in the Rousseau ideological legacy. So they’re only throwing out bathwater here. Fine by me.

They haven’t succeeded in turning me off the idea of an economic basis corresponding to a political regime. Hunter-gatherers never seem to get around to parliamentary democracy, fascism, Stalinism, the Paris Commune or the Petrograd Soviet – not because they were/are too innocent to think of them, but because these systems do not correspond to their needs or means. The above are political systems proper to our age. There is a wide range of them, and which one you end up with depends on the last analysis on the outcome of a political struggle. But a certain type of economy, one where things like factories and railways are central, is a necessary prerequisite.

Though it seems political systems are more broad and fluid the further back you go. Even what we file under ‘feudalism’ is by definition immensely varied and full of local peculiarities. And when I looked at Gaelic Ireland, I realised that under its legal constitution many different de facto regimes could exist, depending on hard factors like population and resources and soft factors like politics and culture.

But even that phrase ‘the further back you go’ is weighted with an assumption, isn’t it? An assumption about progress, development, advance. That economies actually do develop through stages, and do not slip backwards as easily as political systems do; it’s never actually happened that a country has been ‘bombed back to the Stone Age.’ I admit thermonuclear weapons do raise the possibility.

I guess Graeber and Wengrow wouldn’t agree, but it is possible to speak of progress and development and economic stages without being racist or reductive.

Our industrialized world has global warming, endemic and stark inequality, addiction, shanty towns, systematic cruelty to migrants, homelessness for the sole purpose of enriching landlords, debt bondage as a precondition for housing, widespread precarity,long hours and low pay, universal exploitation, and hysterical bigotry against anyone who’s different. It also has vaccines, washing machines, incubators, clean running water, and a super-abundant supply of manufactured goods. I think that second collection of things are more than mere creature comforts or mod cons – yes, even the manufactured goods that clutter my house and ‘do not spark joy’ – and what’s more I don’t see that they are predicated on the first set of things, the bad things, or dependent on them in any way.

The Marxist criterion at work here, as I’ve mentioned before, is the productivity of labour. In relation to that, we can speak of our society as being advanced or developed in relation to a society that lacks these things.

But the bad things listed above, and their absence in prehistoric societies, are a reminder that our society is still at an absolutely pitiful and contemptible level of development. The idle person who thinks it’s OK for him to be thousands of times wealthier than a nurse or cleaner, just because a piece of paper says that he owns this or that, is a victim of the greatest superstition that has ever held sway over the human mind. The 16th-century German had more reason when he bought indulgences off Johann Tetzel, and the Aztec priest had more practical common sense when he ripped the hearts out of war-captives to keep the sun in the sky.

The most valuable insight from this chapter – and it is a refutation of Rousseau whatever way you slice it – is that hierarchy is not a necessary overhead of (a) social complexity or (b) large population or (c) collective projects or (d) coordination over long distances. Sure, hierarchy is one way to do it, and indeed one way that it appears to have been done even in some pre-class societies. But this chapter tells a story of political sophistication and huge monuments, apparently without hereditary rulers or coercion.

I grew up with Gary Larson images of people living in caves and even coexisting with dinosaurs (Yabba dabba doo!). But even as a more well-read adult I still would have thought that before agriculture, people lived in small roaming groups of a few dozen people. This chapter has challenged this idea, but in a way that is actually very encouraging. These pre-agriculture, pre-state, pre-class societies could be large, complex and at least seasonally settled. Probably they had a wide variety of social structures, including hierarchies and castes, but these were not the rule.

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Before the Fall (1): Notes on The Dawn of Everything

Have human societies always been divided into classes? Do we naturally tend toward hierarchies? If not, when and how did we stumble into this vale of tears, and which way is the exit?

This blog meditated on these questions before in my series Celtic Communism? in which I asked whether James Connolly and others were right to assert that Gaelic Ireland was socialist.

At the moment I’m reading the very successful 2021 book The Dawn of Everything: A New History of Humanity by David Wengrow and the late David Graeber. So far, it’s fascinating – which is not to say that I agree with all of it. Reading it, I sometimes tut and shake my head, sometimes suppress an urge to cheer out loud.  

To continue my ruminations on history, hierarchy and communism, I’m going to be blogging my reactions to The Dawn of Everything chapter by chapter, as I read it.

This post looks at…

Chapter 1: Farewell to Humanity’s Childhood

From The Dawn of Everything: A New History of Humanity by David Graeber and David Wengrow, 2021 (Penguin, 2022)

The authors set up two philosophers, Rousseau and Hobbes, as reference points. I haven’t read either myself, but here is a brief summary of what I learned from this chapter:

  • Hobbes argued that in early human societies life was ‘nasty, brutish and short,’ ‘a war of all against all,’ and that inequality, hierarchy and harsh penal systems rescued us from this chaotic state.
  • Rousseau argued that humans once lived in a state of wholesome communist innocence, but ‘ran headlong into their chains’ because inequality was a necessary overhead of prosperity and progress.
  • Graeber and Wengrow, on the other hand, argue that humans are neither innately good (as implied by Rousseau) nor evil (as implied by Hobbes), but creative and brilliant, and that actual early societies do not conform to either the Hobbes or the Rousseau model.
Rousseau, discoursing on inequality while a servant lights the fire

These two models, they argue, have three basic faults in common:

  1. They ‘simply aren’t true.’
  2. They have ‘dire political implications.’
  3. They make the past ‘needlessly dull.’

The chapter is engaging and witty, and plenty of the evidence presented here is really interesting. But my nagging feeling throughout was that ‘a plague on both your houses’ doesn’t really cut it.

For example on page 4 we read that many of the ‘first farming communities’ and the ‘earliest cities’ (my emphasis) remained democratic and egalitarian. This statement is meant as a refutation of Rousseau’s claim that once we invented agriculture we all started bowing down to priests and kings. But the authors are saying, in essence, ‘it took a while and didn’t happen everywhere all at once’ – not ‘it didn’t happen.’ It’s zooming in closer to the transition from primitive communism to class society and pointing at the messy interface. I am fascinated by that messy interface and I want to zoom in. But this chapter has failed to convince me that Rousseau’s version of events is broadly untrue. 

Moving on to the ‘Dire political implications.’ Regarding Hobbes, the dire implications are obvious to me: his model is an argument against freedom and for authoritarianism, against equality and for hierarchy. No thanks.

Thomas Hobbes, in a painting by John Michael Wright

But what are the dire implications of Rousseau? The authors say that talk of ‘inequality’ tends to reinforce inequality, to make it seem permanent, and that fifty or a hundred years ago there was a more powerful critique of ‘concentration of capital’ rather than inequality. But those who critiqued ‘concentration of capital’ 50-100 years ago, the communists, socialists and anarchists, would have had a much firmer theoretical grounding in Rousseau, via Engels, than the critics of inequality today. I feel Graeber & Wengrow do not shoulder the burden they have taken on themselves to prove that Rousseau has ‘dire political implications.’ 

The Marxist development of the ideas of Rousseau added a vital component: that modern industrial society has created such an abundance of goods that it is possible to return to a classless and stateless society while preserving material prosperity. This view is not pessimistic, does not accept inequality as inevitable. I assume it is dealt with later, but it is an omission here.

There is a powerful and memorable assertion on page 8: ‘The ultimate question of human history […] is not our equal access to material resources […] but our equal capacity to contribute to decisions about how to live together.’ Now, I don’t actually agree with that. I think the part about contributing to decisions (politics) is actually subordinate to the part about material resources. First, because most of the decisions will tend to be about how to allocate resources; second, because if there are some people who control most of the wealth, they will in the final analysis call the shots even in the most democratic system. But I appreciate the authors laying their cards on the table. The word that springs to mind for me is ‘voluntarism’ – an approach that downgrades considerations of how material conditions might limit the possibilities of human agency.

A museum reconstruction of Ötzi

This first chapter contains a satisfying rebuke to some modern-day iterations of the Hobbes model – the writings of Francis Fukuyama, Jared Diamond and Stephen Pinker. The latter presents Ötzi, a 5,000-year-old body found in the Alps with an arrow wound, as a ‘poster child for humanity in its original condition’ – the whole nasty, brutish and short thing. Graeber and Wengrow introduce Ötzi to Romito 2 – the 10,000-year-old remains of a man who suffered from a severe disability. Romito 2, in life, was taken care of by his community, given an equal share of meat, and when he died he was buried with care and respect.

The book also promises to be a stinging rebuke to eurocentrist and basically racist assumptions about history. ‘Western civilisation’ is just today’s ‘accepted synonym’ for what used to be called ‘the white race.’ As for the supposedly ‘western’ tradition of freedom, democracy and equality, ‘it is almost impossible to find a single author in the Western tradition, from Plato to Marcus Aurelius to Erasmus, who did not make it clear that they would have been opposed to such ideas […] it’s almost impossible to find a single European author before the nineteenth century who suggested [democracy] would be anything other than a terrible form of government.’ (Page 16) I agree wholeheartedly and I look forward to the further development of these ideas.

A Massim man in the Trobriand Islands, 1900s.

The last part of the chapter argues that the Hobbes and Rousseau models make history ‘needlessly dull.’ For example, material artefacts travelled great distances through such diverse means as vision quests, travelling healers and entertainers, women’s gambling, and the death-defying adventures of the Massim Islanders. To assume that objects can only travel through ‘trade,’ or to sum up such fascinating cultural activities as mere ‘trade,’ is to sell history and archaeology short. I’m not sure how much Rousseau or Hobbes can be blamed for the poverty of imagination which is under fire in these passages, but I’m looking forward to learning more about such cool and interesting stuff in the pages that follow.

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