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PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

I get it: you want to drink Jaegermeister or Goldschlager, but you also want to maintain a modicum of class.

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PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

Yes, do you want to write The DaVinci Code or Foucault's Pendulum?

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

pseudanonymous posted:

The Davinci Pendumlum. No I'm thinking.. the Focault Code. To be fair, the Davinci code sold a lot of copies.

And got made into a Tom Hanks movie!


Atlas Hugged posted:

I realized that after I made my post. It's the fundamental choice of the creative: sell out and make bank or go for legacy and risk dying impoverished and unknown.

It's the choice Achilles had to make: die comfortably and be forgotten or die on some foreign shore and hope to be immortalized.

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

TheGreatEvilKing posted:

The Harkonnen troops are also mostly able to oppress the Fremen with impunity until Paul comes along

This isn't really true. The Harkonnens are able to oppress villagers but don't even really know about the Sietches or just how many Fremen there really are out in the deep deserts. When they do try to oppress the Fremen under Rabban's pogrom, they suffer vastly more casualties than they inflict.

But to your larger point, it's also important to remember that the Fremen live pretty nice lives in the Sietches. They're much more technologically advanced than any outsiders realize, and they have pleasant domiciles and secret gardens. Also, their prowess stems at least as much from being religious fanatics as it does from living in a harsh environment.

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

On a similar note, Tehanu is also pushing back against the idea that fantasy must always be about the high and mighty. She could have been a queen on a throne but instead she settled down in a village to raise a family, and the latter is just as meaningful and magical as the former.


Jimbot posted:

Though I think she might have had antiquated ideas on gender roles since she looked at women knights and asked "why?"

I think it's fair to say her views on gender are a little antiquated and too biologically determinist for our time, but I think you also have to acknowledge that she's examining and testing those views, most notably in The Left Hand of Darkness.

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

pseudanonymous posted:

My understanding is also that sometimes she wanted to write more different things and was rather bluntly informed they wouldn't be punished.

In The Wind's Twelve Quarters' author notes she relates some disagreements with publishers about titles and a notable episode where, it think, Playboy will only credit her as U.K. Le Guin. So I'm sure there were stories she wanted to tell that she couldn't sell early on, but I suspect that was less and less the case as time went on.


Southpaugh posted:

The Left Hand of Darkness was published in '69 (nice). Le Guin was a dyed in the wool progressive. I believe she addressed many criticisms before her death too.

Oh yeah. She was very progressive her entire life. And I think even if you were to take issue with the sex and gender dynamics of Left Hand, you'd have trouble calling the novel regressive in light of what it's saying about war, politics, faith, and culture.

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

Pacho posted:

In Always Coming Home from 1985 there are socially accepted trans and gender non-conforming people. I've read Earthsea up to Tehanu and between the texts and the afterwords I think Leguin is railing against the idea that a Strong Female Character must embrace traditional masculine values to be recognized and self-actualized, when traditional (and non-traditional) female values are valid but underappreciated in both Earthsea and our societies. Further context is that she's usually against the idea of violence (and specially institutionalized violence) solving anything

I haven't read Always Coming Home. I still want to finish the Hainish stories before moving on to anything else by her. I've also read up to Tehanu and agree, but I also think there's a class commentary there. As I said, Tehanu could have become a queen, but she instead chose to be a villager.

One of the many layers of The Left Hand of Darkness is a critique of institutional violence, specifically war. The world of Gethen is destabilized by a person inventing the concept of war in a world that has never had more than ritualized clan skirmishes.

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

"His work is better than an actor's vanity novel" is not high praise.

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

the JJ posted:

Like, 'shall I compare thee to a summer's day's is 'incoherent' in that days are a measure of time and people dont last 24 hours.

First, while Shakespeare doesn't use "like" or "as" here, this is better labeled as a simile than a metaphor since it's an explicit comparison. Shakespeare doesn't say the Fair Youth is a summer's day.

Second, the poem addresses this exact point. One of the ways in which the Fair Youth is different from a summer's day is his "eternal summer shall not fade" because the poet is going to immortalize it in verse.

E: And later the poet changes his mind about that whole immortal beauty thing which is why he tells the Fair Youth to get to loving and making children.

PeterWeller fucked around with this message at 19:00 on Oct 20, 2022

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

the JJ posted:


Another bad comma.


It's a perfectly fine comma. The problem is "making GBS threads myself" is a dangling participial phrase that does not modify the subject of the following clause: "she".

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

the JJ posted:

I would argue that it's still a bad comma though, it's not like the sentence reads better as 'making GBS threads myself she began to frown.'

This is a comma splice, and it illustrates why the comma isn't the problem with the sentence in question. :v:

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

Atlas Hugged posted:

I play a bit of guitar and I'm far from any good, but conceptually I could see a couple of approaches.

If it's a chord, he could just play the chord without the missing string and it's possible the audience wouldn't know it, especially if he's singing loudly. You could do tricks like palm muting or pinch harmonics as well to potentially make up for missing elements in a chord, but it would mostly be hiding that the chord wasn't full rather than replacing the missing note.

If it's individual notes, you could potentially play the same note on a different string in a different area of the fretboard, but depending on how far away that note is you'd need really fast hands and your memory would basically have to work like Guitar Hero to immediately start subbing notes in.

No matter what, it wouldn't at all be how your muscle memory remembers the song.

Honestly, I think you're making it sound more impressive and difficult than it really is. You can play the same chords with multiple shapes and you can always move some notes or entire chords up or down an octave.

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

Atlas Hugged posted:

Like I said, I'm not very good so from my perspective doing this kind of thing on the fly would be pretty impressive. If you're suggesting it's actually much easier if you're at all familiar with the instrument, then it seems like Rothfuss really did overshoot and is hoping people know jack poo poo about playing music.

Yeah, I'm a mediocre guitar player and couldn't transpose on the fly when playing guitar, but I'm a good enough bass player that I could play around a broken string, and I'm just some rear end in a top hat who likes to play along with records at home, so somebody of Kvothe's skill level should have no problem at all.

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

Complaining that his college Lit courses weren't just about vibes explains a lot about Rothfuss.

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

He's gonna kill a king the exact same way he killed a dragon. It won't technically be a king, just some hereditary monarch at the head of some feudal system.

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

Well that would be an interesting story beat, so guess how I know it's not true.

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

poo poo Fuckasaurus posted:

Unreliable narrator works for me, because the way Kvothe describes everything just sounds like some poo poo he made up on the fly and isn't consistent at all.

This isn't what an unreliable narrator does, though. An unreliable narrator doesn't just make poo poo up as they go. An unreliable narrator consistently misreports events to serve their own agenda in a way that is made evident to the attentive reader through the rest of the text. The classic example is Nabakov's Humbert Humbert, a man who kidnaps a girl and rapes her but tells the reader it's all a romantic adventure.

Rothfuss arranges a pretty great frame for an unreliable narrator: "here is the greatest hero of his age reduced to a lonely barkeep at the edge of nowhere. Why? Because his heroism was all a sham. Now he will tell his true story." Then you can have the "true" story be another sham and slowly reveal that Kvothe really is the greatest hero of his age, and he's trying to cover up whatever went down with the Chandrian and why those spiders (remember them?) are showing up because all hell would break loose if people found out the truth.

But Rothfuss instead went with a story where Kvothe really is the greatest hero of his age. It's just the stories have it wrong. He didn't kill a dragon. He killed a draccus, which is a fire-breathing reptile that is "commonly believed to be the inspiration for most dragon mythology in the Four Corners." It's Rothfuss who just made poo poo up on the fly.

PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

Goffer posted:

I would have thought *that's an intentional part of the story* the "unreliable narrator" telling the story from his perspective at the time, that he's doing bad things for the "right" reasons.

A narrator who justifies their actions isn't necessarily unreliable. You have to ask if the rest of the text undermines those justifications. In this case, it does a little with Kvothe feeling bad and vomiting afterwards, but that's a normal reaction to committing great violence even if that violence is justified, and more importantly, it ultimately reinforced Kvothe's judgment by having that other character tell him he was right to do so.


Goffer posted:

The unreliable narrator maybe isn't the best term. Biased narrator maybe. He tells the story from his perspective at the time, which by it's nature is told in a way that makes his own actions seem justified.

The thing is: every character bound narrator is biased. Really, every narrator, even the most disembodied omniscient 3rd person voice that exists to truthfully report events and the interiority of characters, is biased because every story is narrated from a particular point-of-view.

And he's not telling his story from the perspective of the time. He's telling his story from the perspective of the narrative now where Chronicler is asking him for the true story. He's telling about his perspective at the time, but it's all part of his retrospective narration of his life to Chronicler.

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PeterWeller
Apr 21, 2003

I told you that story so I could tell you this one.

There are 2 James Ramsays, young and older James, separated by a *10 years later* interlude. The James in either half is a static entity, there's no growth to his character within either section. Losing a family is not character growth - not even the death of his siblings change his character.
Older James wants to row out to the same lighthouse as young James as if he were in the same situation.

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