The Haunted Owl Service.

The Owl Service by Alan Garner was first published in 1968 and was transformed a year later into a much loved 8-part children’s TV series by Granada Television. The low fantasy novel is set in a contemporary setting within a Welsh Valley and is an adaptation of Welsh Mythology surrounding the woman Blodeuwedd. Blodeuwedd was created from flowers for the man Lleu who has been cursed to never have a human wife; however, she betrays him for another man, Gronw, and is subsequently turned into an Owl (which are considered evil/sinister) for inducing Gronw to kill Lleu.

This myth haunts the main story which focusses around the teenagers Roger and Alison, who are stepbrother and sister and are spending a summer in Wales with their new parents in order to bond with each other. The house they are staying in was inherited by Alison when her father died and is looked after by Huw Halfbacon who has seemingly worked or had an association with the property for the whole of his life. During the stay of the family the former cook, Nancy, and her son Gwyn, are employed as domestic staff at the house. Gwyn soon forms friendships with both Roger and Alison with Alison garnering a substantial amount of his affection causing ever greater vexation to Roger. Together they unknowingly awake the legend of Blodeuwedd when they discover a dinner service hidden in the loft featuring a distinctive owl pattern. Together they soon find themselves repeating the Blodeuwedd myth and as the tention mounts they eventually are left with no option but to have to face it head on.

I really enjoyed the book which is a quick read but bursting with ideas. It would, I believe, still very much appeal to today’s (post)modern teenagers even with its splashes of parlance which we today would now consider antiquated, personally I found it charming. In my mind the book can certainly been seen as a allegory of growing up as it is soon discovered that the myth at the heart of the story has been replayed seemingly by every generation since the original. The children’s simple metanarrative of life is broken when puberty is reached, the teenagers must now craft their own lives, their own stories. But the problem is, how free are they really to shape there own lives? They will be, like we all are, forever haunted by the past. The juggling of time and fate is questioned and probed throughout which is a theme teenagers today should surely, I believe, still resonate with, even more than its late 60s audience perhaps seeing as 21st century teens have always lived in a non-linear world; time has for them always been dyschronous, or in the words of Shakespeare’s Hamlet their world has always been lived with “…time out of joint”

It is this clever questioning of time, fate and indeed place that has allowed The Owl Service to still be in print today because while it was published with the young adult audience in mind it is a story which surely resonates with us all, particularly in the world today which is overrun with ghosts of the past which are growing at a rate unseen before. Today only a few traditional myths continue to live on, this is due to part to the vocal culture in which many were conceived as they of course relied on them being re-told and stored in living memory, unlike today. Today everything is saved remotely due to a proliferation in storage technology, as a result we suffer from too many ghosts as we now have too much history from which to refer. The Owl Service, while questioning our relation to history, feels as a result of modern technology, distinctly quaint and is therefore a comforting entry point into questioning our relation with history. Its simplification without degradation of a complex idea is the core as to why, I believe, the story is a firm favourite of those who are interested in the theory of Hauntology, as it is, as previously said, a good starting point.

“Yesterday, today, tomorrow – they don’t mean anything. I feel they’re here at the same time: waiting. How long have you felt this? I don’t know. Since yesterday? I don’t know. I don’t know what ‘yesterday’ was. And that’s what’s frightening you? Not just that, said Alison. All of me’s confused the same way. I keep wanting to laugh and cry. Sounds dead metaphysical to me, said Gwyn”

As I post more on this blog you will begin to notice hauntology popping up more and more often. It is through hauntology that I discovered The Owl Service, and it is a concept which I am currently enthralled with and will be reading heavily on over the coming months as I intend to use it as the basis of my upcoming Popular Culture Dissertation. The Owl Service popped up more and more as I’ve been researching hauntology online, it features on many of the hauntologically focussed blogs and I even got a tweet from someone who’s interested in the subject recommending that I read it. Ultimately I’m glad I did and it is indeed a good entry point into the topic as it does seemingly lay a good foundation of the core concepts.

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As I may very well start using the word hauntology quite frequently from now on here’s a brief overview. The term hauntology is derived from an idea within the philosophy of history and was first introduced by the deconstructionist Jacques Derrida in his work Spectres of Marx. In his native French it is a near-homophone to the term ontology, the philosophical study into the nature of existence and reality and it deals with at its core the paradoxical state of the history as spectre which is neither being nor non-being. Its contemporary use as a tool to look at the current state of popular culture is seemingly attributed to music critic Simon Reynolds who used the term to describe a genre of experimental music ‘which evokes a forgotten yet emotionally redolent past era” It has since grown to explore a whole plethora of popular culture content. Hauntology examines at its core the past within the present. This is clearly demonstrated in The Owl Service with a classic Welsh Myth being relived in the present by the 20th century characters and in doing so demonstrating that the ambiguity of borders and dyschronia as now being the essential nature of our forever haunted reality.

“…all his talk is something he can’t quite remember, or can’t quite forget”

A few things (featuring Brian Butterfield)

Just a quick post to flag up a few things

Firstly I’ve started following a new Youtube Channel called Geek and Sundry which contains various geek interest shows, it launched yesterday (2nd April) and is still of course settling in. One of the shows they have on there is a light bi-weekly boardgaming show called Tabletop which is not too bad at all, very much setup for people who might be new to the world. I’ll post the video below, the game featured in this inaugural episode is Small World, a game I own and very much enjoy (I just wish everyone else did :P)

Secondly I found the youtube channel via a Goodreads bookclub I recently joined called Sword and Laser, presented by two west coast tech journalists which I’ve seen on various shows over the past couple of years. They also have a show on the before-mentioned youtube channel (yet to be released) as well as interesting audio podcast in which all many of sci-fi/fantasy topics are discussed, often directed by there community, (one of my threads regarding recommending book to people normally scared of the genre is discussed this week), as well as that months book, which in April is Lev Grossman’s The Magicians

And finally I recently asked Brian Butterfield, the brilliant Peter Serafinowicz character (which I recommend you check out), a question via twitter on The Radcliffe and Maconie 6Music show and someone promptly put the audio on youtube, which I present below.

Ink and Paper.

(apologies for any spelling/grammar errors but It’s getting late as I finish this, will go through and edit tomorrow :P)

Most of my day today, and in fact the past couple of days previously, has been entirely dominated by reading, something which I do very much enjoy. This reading has been dominated mostly by academic texts and journal articles about science fiction and fantasy as I have an essay due to be completed in less than a week and I still haven’t decided firmly on a topic to write it on, the first time I’ve ever had this problem. I have a few vague concepts so I may just have to start writing and see what I get.

Anyway, I’ve been thinking quite a bit about print media recently, firstly, and something I may very well have blogged about before, e-readers. My opinion on them is already well formed, and also very slightly conflicted. It’s assumed by many at work and by acquaintances that I would own one or intend on getting one simply because I know how to use computers and electronics, well this is not the case; furthermore I’m in fact becoming slightly anti-technology (or at least I feel disturbed/pessimistic by its overbearing influence on society) I prefer and will always prefer the real thing, a real book, over any digital copy. I know the technology behind Kindles and other such e-readers is actually really good, and that it actually makes digital content easy to read, i.e. it’s easy on the eye, but I like the physicality of real books, and while the text is the same in both physical and digital books the medium it is presented on does change message, all be it subtly, as I’m sure Marshall Mcluhan would have attested. I can understand why the devices are appealing, in 21st century technological fetishism is really easy to get sucked into, I’m guilty of it quite often, but ultimately such devices are shallow, I’m by no way anti-tech but there is something enchanting about the form of a printed book which would be lost with we al used e-reader devices. Think about that feeling you get when walking along an isle of books in a library, each new book one dusts off is an adventure waiting to rediscovered and lived or a theory waiting to both excite and educate the mind, and of course while the texts themselves would not disappear due to e-readers themselves, the public shrines to the works would certainly be damaged beyond repair. I may just be a romantic fool but I think that capturing a intangible and vaporous idea and then reconstructing it into a form that is then physical is a much more fitting tribute to the magicians behind the thoughts and ideas than simply encoding it into another untouchable form which then requires a device in order to reassemble the idea once more.

I’ve also been thinking about magazines. I and a few friends are currently trying to create a zine which is currently called Bricolage, and as the name suggests it is a hodpodge of features, stories, poems, and art and so-forth. Why are we doing it, well firstly I guess because we’d quite like to see something we’ve made in physical form, it’s much more satisfying to see something properly printed and bounded than simply on a computer screen, but secondly it’s because the mainstream magazines which are readily available are really depressing. Of course we know that our little project is unlikely to get anywhere, but it is essentially a minor backlash against the state of the industry, which is of course clearly facing tough times due to the Internet, but feeling the magazines with even more adverts or paid editorial is not the way forward, quality should rule the roost. Flicking through a technology magazine here the amount of pages is impressive, but when you strip back all the advertising there is little more than a skeleton left, no wonder they are dying and it really is a shame.

As I’m currently studying science fiction and fantasy, as I’ve mentioned, I’ve of course looked at some of the pulp fiction being produced in the 20s and 30s, much of this was not quality it has to be said but it is still a shame in my mind that one can’t go to a newsagents and buy a magazine of short stories (well I guess you can by “real life” stories, but as stated in George Orwell’s Nineteen Eighty-Four that’s just fodder to keep people distracted) Of course in the period when the pulps were at there height there wasn’t as many easily accessible media forms vying for peoples attention, but I still think that should surely still be a market for such content. Well as a result of this thought I’ve gone out my way to find some indie magazines which feature short stories, mainly fantastic literature, the first one of which is entitled Postscripts. As the year progresses I’m planning on buying some more such magazines as and when I find them and I’ll undoubtedly post some comments about them on this here blog, so be sure to stay tuned for that.

And with that ramble I depart.

The Allegory of the cave.

I’ve recently bought a book called Philosophy – The classics, and it is written by Nigel Warburton, the host of the podcast philosophy bites which i listen to. The book introduces you to 30 of the most important philosophical works that are still relevant today. It gives each book a brief yet informative commentray of the key points they throw up. As a newbie to philosophy it is very well written and addictive book, so much so that i thought i’d share the following extract.

The extract is taken from the first chapter in the book, on Plato’s The Republic. It is a re-telling of the classic allegory of the cave. As someone who had never come across the allegory before it was quite enlightening. You can views further extracts from the book on Google Books and listen to the chapter on plato and others from the Official Podcast, which can be found on the podcast Website and on iTunes.

Click here to listen the Plato Podcast

“Imagine a cave. Prisoners are chained facing its far wall. They’ve been kept there all their lives and their heads are held fixed so that they can’t see anything except the wall of the cave. Behind them their is a fire and between the fire and their backs a road. along the road various people walk casting their shadows on the cave wall; some of them carry models of animals which also cast shadows. The prisoners inside the cave only ever see shadows. They believe shadows are the real things because they don’t know any better. But in fact they never see real people.

Then one day one of the prisoners is released and allowed to look towards the fire. At first he is compley dazzed by the flames, but gradually he starts to discern the world around him. Then he is taken out  of the cave and into the full light of the sun, which again dazzles him. He slowly begins the realise the poverty of his former life; he had always been satisfied with the world of shadows when behind him lay the brightly lit real world in all its richness. Now as his eyes acclimatise to the daylight he sees what his fellow prisoners have missed and feels sorry for them. Eventually he becomes so used to the sunlight that he can even look directly at the sun.

Then he is taken back to his seat in the cave. His eyes are no longer used to this shadowy existence. He can no longer make the fine discriminations between the shadows which his fellow prisoners find easy. from their point of view he eyesight has been ruined by his journey outside the cave. He has seen the real world; they remain content with the world of artificial appearances and wouldn’t leave the cave even if they could”