One of my first signs that the internet would change everything was when I read The Difference Engine, shared it with a friend, and we argued over some obscure point. It got to the point where they said, "I guess we'll never know unless we meet the authors" and something clicked. I spent a few minute searching and found Bruce Sterling's email address (this was the pre-web era) and sent him a question. He answered in a an hour. It was a stunning example of the connectedness that was to come.
I remember you showing this to us at one of our meetings--or at least sharing it as it happened. And it was significant. We are connected, at times, perhaps too much so. But so much good has come of it.
I've read several steampunk novels and found them OK. THE steampunk novel, which probably many would consider to be Gibson and Sterling's The Difference Engine, is not one of them, though. In fact, I lost interest about half way through and stopped reading.
I was surprised as both Gibson and Sterling are favorites of mine, having read many of their works. I am much happier with them when they are writing cyberpunk.
One author mentioned in the article was KW Jeter, who really doesn't fit into any category since he also writes cyberpunk and horror. One of his best, or at least, one that I like best is his _The Glass Hammer_, which is probably best classified as cyberpunk, if anything. I have also read his _Infernal Devices_ and enjoyed it. I didn't think of it as steampunk, but I could see that it could be labeled as such.
There are so many wonderful things about the internet: there was a time when a scholar had to order through ILL and wait for weeks or months before he or she could set eyes on such works as Geoffrey of Monmouth's Vita Merlini or Robert de Boron's Prose Merlin . No more. from Prose Merlin Robert de Boron Full wrothe and angry was the Devell, whan that oure Lorde hadde ben in helle and had take oute Adam and Eve and other at his plesier. And whan the fendes sien that, they hadden right grete feer and gret merveile. Thei assembleden togedir and seiden: "What is he this thus us supprisith and distroyeth, in so moche that oure strengthes ne nought ellis that we have may nought withholde hym, nor again hym stonde in no diffence but that he doth all that hym lyketh? We ne trowed not that eny man myght be bore of woman but that he sholde ben oures; and he that thus us distroyeth, how is he born in whom we knewe non erthely delyte?" Than ansuerde anothir fende and seide
I post this because whenever I recommend to anyone the Queen of Night, I always recommend it in the Lucia Popp rendition. It's a matter of personal taste, but what I love about this is that it is somewhat slower than the other versions and as a result, it would seem to me somewhat more difficult to perform and sustain--those high notes in which the Queen's voice becomes the Magic Flute itself are rounded, full, and deep while remaining light and airy. I have read some rather severe criticism of this ritardando; and while it may or may not reflect Mozart's intent, it is certainly within the options for staging. It creates a real vocal showpiece from what is already a magnificent example of same. It really is an amazing example of a virtuoso composition sung by a virtuoso voice. All of which should not be taken to mean that I do not truly appreciate the version posted earlier by Diana Damrau, it's just nice to see what a difference tempo can make. I think we can take
One of my first signs that the internet would change everything was when I read The Difference Engine, shared it with a friend, and we argued over some obscure point. It got to the point where they said, "I guess we'll never know unless we meet the authors" and something clicked. I spent a few minute searching and found Bruce Sterling's email address (this was the pre-web era) and sent him a question. He answered in a an hour. It was a stunning example of the connectedness that was to come.
ReplyDeleteDear Randy,
ReplyDeleteI remember you showing this to us at one of our meetings--or at least sharing it as it happened. And it was significant. We are connected, at times, perhaps too much so. But so much good has come of it.
shalom,
Steven
I've read several steampunk novels and found them OK. THE steampunk novel, which probably many would consider to be Gibson and Sterling's The Difference Engine, is not one of them, though. In fact, I lost interest about half way through and stopped reading.
ReplyDeleteI was surprised as both Gibson and Sterling are favorites of mine, having read many of their works. I am much happier with them when they are writing cyberpunk.
One author mentioned in the article was KW Jeter, who really doesn't fit into any category since he also writes cyberpunk and horror. One of his best, or at least, one that I like best is his _The Glass Hammer_, which is probably best classified as cyberpunk, if anything. I have also read his _Infernal Devices_ and enjoyed it. I didn't think of it as steampunk, but I could see that it could be labeled as such.