Tag Archives: epic

Screening History: “Outlaw King” (2018)

I’d been meaning to watch the Netflix film Outlaw King for some time now. As someone who has an abiding interest in the depiction of history in film and television, it seemed like it might be a worthwhile watch. While I did enjoy the film, what struck me the most was just how forgettable it was, hardly the sort of cinematic legacy that Robert the Bruce, one of Scotland’s most famous heroes, should inspire.

The film centers on the man Robert the Bruce–portrayed for better or worse by Chris Pine–one of the claimants to the Scottish throne. He repeatedly falls afoul of the English King Edward I and his son Edward, until he nearly loses his life and the throne he has fought for so diligently. Ultimately, however, he attains his goal, leaving the English thoroughly defeated on the field of battle, leaving Robert to claim his crown.

The entire time I was watching this film, I found myself wondering: why Chris Pine? I mean, of all the Chrises who are currently making their way in Hollywood, he’s probably the last one that I would have picked to play a man like Robert the Bruce. To be fair, he does a creditable job in the role, but he really lacks the charisma and weightiness to really make his portrayal of a truly epic hero. The fact that he isn’t Scottish, and that he doesn’t really make an effort to speak in an accent really hamstrings his portrayal.

The rest of the cast does their best with a script that doesn’t really give them a lot of room for development. Stephen Dillane, fresh out of his outing as the hard-nosed and implacable Stannis Baratheon in Game of Thrones, turns in a convincing performance as the heartless and cruel Edward I, arguably one of the sternest and brutal kings that England has ever produced. Florence Pugh is moderately engaging as Robert’s wife Elizabeth, though I have to admit that there wasn’t much chemistry there, and I was not significantly moved by their “romance.”

Where the film really succeeds, however, is in its cinematography. Like all good epics–especially those set in mountainous regions such as Scotland, the film makes good use of its scenery. Time and again, the camera flies overhead, revealing grand, sweeping vistas that literally take one’s breath away. Unfortunately, the actual dramatic part of the film doesn’t have nearly as strong an effect, and while I enjoyed the story, I really didn’t feel moved at any points. It was, despite the huge amount of blood gore, a largely bloodless affair.

Speaking of all of that blood and gore…it seems that, to match the grimdark sub-genre of fantasy, we’re now to be subjected history films and TV series that do the same. Some, such as History Channel’s Vikings, can get away with it because they have a cast and a story that is engaging on its own. Films like Outlaw King, however, lean far too much into this “gritty” portrayal of the medieval past. In fact, the film’s final battle is just one long, muddy, cacophonous mess.

Aside from the gratuitously loud sound that always seemed to accompany these sequences, we also have the fact that it becomes rather boring after a while. I’m not saying that bloodshed and battle shouldn’t be part of the representation of the medieval past, but I do wonder whether this new mud, blood, and guts method of portraying that period is nearly as titillating or visually interesting as the producers and directors seem to think. As with sex (which used to be the go-to for historical fictions), one has to make sure that all of the titillation has a story and characters to support it. Outlaw King, unfortunately, has neither.

All in all, I thought that Outlaw King was a fine outing as far as it goes, a brief foray into a period of Anglo-Scottish history that hasn’t been tapped really well since Braveheart (say what you will about that film’s abuses of history, it’s still a damn fine epic). Unlike Braveheart, however, I do rather doubt that Outlaw King will stand the test of time to become a marker of what the genre can do.

Novel Thoughts: Turning History into Fantasy

Some of my favourite fantasy series involve some measure of real history in their inner workings. This is true of such series as George R.R. Martin’s A Song of Ice and Fire, Tad Williams’ Memory, Sorrow, and Thorn and, of course, the many works of Guy Gavriel Kay (most notably those of his works set in the world of his duology The Sarantine Mosaic). All of these authors make explicit use of real world antecedents in their myth-making, which adds layers and textures that enhance the reading pleasure. Of course, even the great master himself, Tolkien, had a keen eye for the importance of history at all levels of his work. Middle-earth, obviously, has a history as deep and rich as any in all of literature. The actions of those in the distant past of his world, after all, continue to echo down through all the subsequent eras, for good and for ill.

And it’s not just that the best epic fantasy makes allusions to real-world history; it also asks the same sorts of questions as historical fiction and nonfiction history do. These include: How does it feel to live at the end of an age? What ability do individuals–the small and the weak–have to change the world around them? Is there such a thing as historical agency, or are we all merely subject to forces that we cannot name and certainly cannot control? Do those living in epochal change know that they are doing so?

So, when I set out to write my own epic, I knew that I wanted to bring my love of history into my favourite genre of literature. I read widely and voraciously, and as I did I began to realize that many of the periods of the past that interested me most would make a fine fantasy setting. Particularly influential for me was the British historian Tom Holland’s (no, not that Tom Holland’s) fiery history The Shadow of the Sword. Whatever its merits (and flaws) as a book about the origins of Islam in Late Antiquity, it is a rousingly good read, and he offers some great insight into the period. Indeed, it opened up my eyes to an entire way of thinking about what I wanted to do with my work. What if, I wondered, the two of great civilizations of Late Antiquity–the Byzantine Empire and the Sassanid Persians–were instead rulers of a vast continent, with a subaltern group sandwiched between them that was destined for greatness in its own right? What if their perennial squabbling was also part of a vast cosmological drama?

I continued reading, pulling in bits and pieces, creating a nation known as Aïonis that was essentially the Byzantine Empire (with some Holy Roman Empire DNA thrown in). Its opponent is Haranshar, the vast entity that rules about 2/3 of the continent of Aridikhos (name subject to change), a Sassanid analogue. And sandwiched between these two vast superpowers are the Korrayin who, in their mountains, are divided into four confederacies and numerous tribes. They’re basically the Late Antique Arabs, except in the mountains rather than the desert.

With this as the backdrop, a tiny little story I was working on–about a young cleric who discovers a heretical gospel and is forced to flee for her life–suddenly began to take on ever-greater dimensions, until her action became the catalyst for a continent-spanning conflict that could literally remake her world.

The result? Well, at this point there are roughly four strands of the novel as it currently exists. The three, more grounded strands are the brewing conflict between the two superpowers, Aïonis and Haranshar; the rise of the Korrayin as an unstoppable conquering army; and the rediscovery of a banned magical technology that involves the binding, through blood magic, of spirits of fire, air, and aethyr into the body of a human host to create an immensely powerful weapon (an obvious analogue of the development of atomic technology). These all take place against the backdrop of a brewing conflict between two essential forces, the creator god (known as the Creator, Ormazdh, or simply “The God” to its worshipers, Demiurge to its detractors) and the god of transcendence (known as Kagal, the Black Destroyer or Murash, the Great Lie to detractors and as Adonai to worshipers).

Through these continent-spanning narratives, I’ve tried to ask the big questions. What does it feel like to live at the end of an era? What happens when great powers become so ossified that they are destroyed from within and from without? How do the seemingly inconsequential actions of small people bring empires to their knees? I’m not sure how effectively or compellingly I’ve answered these questions, but I like to think that my work combines a good story with deeper musings.

In that sense, I think that it is appropriate that I’ve chosen to write in the genre of the epic which, perhaps more than any other genre of fiction, is equipped to delve into these questions in nuanced and detailed ways. As I continue to write the stories of characters such as Theadra, the cleric who discovers a heretical gospel and must flee for her life; Ishaq, a “barbarian” who sets out to avenge his father and claim the High Kingship of the Korrayin; and Bahram, a vizir who is a mere figurehead but yearns to redeem his family; I hope to do justice both to their individual stories and to the larger issues that they embody.

As such, I view my work as working against the (still-dominant) tendency to view fantasy as a low genre, incapable of asking the same deep questions as more literary genres. To my mind, some of the best, and most enjoyable, fantasy series are those that really make us think, that try to transform how we think about the world, our place in it, and our relationship to what has come before us and what will come after. There is so very much that fantasy fiction can do for us, if we but open up our eyes to the possibilities.

Reading The Wheel of Time: “The Dragon Reborn” (Book 3)

Now that he has acknowledged that he is the Dragon Reborn, Rand must make his way to Tear and claim Callandor, one of the most powerful sa’angreal that were created during the Age of Legends. Meanwhile, Nynaeve and Elayne must seek out the Black Ajah, and Perrin, Egwene, and Mat have to accept their role in Rand’s destiny.

I’m going voice what will probably be an unpopular opinion. Both Rand and Mat are the most insufferable characters in fantasy literature. I mean, I know that Rand is supposed to be the reluctant hero and all of that, but he’s not only unwilling, he’s stupidly stubborn. The only other character I can think of that is nearly as annoying is Jon Snow, whose character also suffers because of a certain lack of competency on the part of most fantasy writers to create central characters who aren’t infuriating.

That being said, there is a lot to like in this novel, particularly the (for the most part) well-organized plot that sees several different strands converge at the end in the climactic moment when Rand claims the sword for his own and announces to the world his status as the Dragon Reborn. What’s more, this novel really gives a great deal to Perrin who, among the three male leads, is definitely the most sympathetic (and the least insufferable). Though he won’t really come into his own until The Shadow Rising, the seeds are already set for his starring role in that book.

The novel also includes the perspectives of several of our other favourite characters, each of whom starts to develop a true mission of their own. I particularly enjoy the plot in which Nynaeve and Elayne are sent to track down the Black Ajah, particularly the malicious Liandrin and her fellows. These are truly some of the most sinister characters in the series, women who have no intention of doing anything other than leashing Rand for a service to the Dark One. The fact that they elude the justice that they so richly deserve is frustrating, but it does give us something to look forward to in the next novel.

Like it’s predecessor The Great Hunt, The Dragon Reborn is briskly-paced, so that we move through the various stages of the plot in a relatively short book. I would actually argue that the first three books of The Wheel of Time are in many ways a springboard for the vast tapestry (a Pattern, if you will), that will consume all of the subsequent books. In fact, this is the last book for quite a while that will have a narrative that is actually contained and leads to a meaningful fruition. From this point on, we’ll get more POV characters and more plot-threads, but given that the sheer scope is part of the pleasure of this series, I’m not going to complain too much.

There are still some nagging bits of inconsistency in terms of pacing, particularly Moiraine’s ability to kill Be’lal with seemingly little resistance on his part. Sure, it seems like she is able to get the jump on him, but it really makes one doubt the power of the Forsaken if they can be so easily dispatched. But then, the Forsaken, for all of their vaunted strength and prominence in the Age of Legends, seem a bit off their game in this new world.

Overall, though, The Dragon Reborn is a truly entertaining and thrilling read. It is probably the last book in the series in which Jordan is able to restrain his worst impulses. From this point out, the plot will start to meander and hundreds more characters will make their appearance. In addition, the characters will begin to engage in their endless refrains that will become infuriatingly repetitive the longer the series goes on.

I’m very much enjoying my re-reading of The Wheel of Time. I am sincerely hoping to have it finished by sometime in early 2018, which is a bit ambitious, but I’m sure I can do it. I’ll be honest. I’m sort of skimming the volumes that I’ve read several times, but I hope to slow down and savour the last four.

With that, onward we go!

Dissertation Days (57): An Overdue Update

Since I realized that it’d been over 2 weeks since I’d written an update on the Dissertation, I thought I’d take a hot second and do so. Things continue apace. I’m getting ready to submit a revised version of parts of Chapter 3 to the adviser, while I continue finishing up the readings themselves.

And, fortunately, I continue to make some really good progress on Chapter 4. The writing has been coming remarkably smoothly these last few weeks, and that is a huge relief. I now actually feel like I can get this whole project done and defended in the next 7 months, and that is also a tremendous relief.

There is something poetic about writing about the lost dreams of a a powerful woman and the feeling of melancholic utopia that that generates in the wake of 2016. It’s not that everything in the world has to line up neatly with the election and its aftermath, but it’s funny how very different it feels to write this dissertation now that an eminently qualified woman and her dreams of a better future were dashed. Not to mention the fact that when I began writing about a period in which an entire country trembled before the possibility of nuclear war I never dreamt I would be living such a reality.

Such, though, are the vagaries of a project that takes a couple of years to complete. Now that I’m almost done, I can take a bit more time to reflect on those larger questions. If nothing else, they’ll make a nice anecdote with which to open or close the book (when I finally get around to changing this beast into a monograph).

Overall, I’m very happy with the way this dissertation has taken shape. I’ve worked long and hard on it, and I feel like I’ve intellectually accomplished something. There are still a few more mile-markers to cross, but I do believe I can see the finish line, over there in the distance somewhere.

I plan to continue these little updates until the very end, but they may be a bit more sporadic. I have a lot of other writing projects going on, both on this blog and in the outside world, and I want to make sure they get the attention they deserve. In the meantime, you can always check my Twitter, since I usually tweet diss updates there.

Well, I’m off.

Keep writing, my beauties!

World Building (9): The Great Houses of the Imperium–House Terrasi

The lords and ladies of House Terrasi are the hereditary rulers of the city-state of Sperezo. As such, they have many financial dealings that have given them the ability to buy influence where they could not otherwise attain it. They are all descended from the third son of Yishandra, Johannes, who changed his name to Joachuim in order to better fit in with the local nobility of the city to which he moved. He would take to wife the daughter of the local Caracci House, one Giovana. All current members of House Terrasi are descended from them.

Like all of the Great Houses, the Terrasi have been able to seize the position of Imperator at several points in the history of the country. In all, there have been 8 members of the dynasty, none of whom have been particularly well-regarded by subsequent historians, who largely view them as a grasping, avaricious dynasty that cared more about its own aggrandizement than about the well-being of the Imperium.

The 5 Imperators of the first instantiation House Terrasi were as follows: Frederico I, Frederico II, Joaquim, Iago, and Frederico III, followed by a period of 15 years in which several usurpers held the city of Aïonis and the entire province and thus could be said to control the Imperium as a whole. The last of them, Gratian, was eventually defeated on the field of battle and the last 3 Imperators from Terrasi ruled. They were: Frederico IV, Giovana I, and her daughter Giovana II. The last of their House, Giovana, was overthrown by her distant cousin Daniel I of House Vananov of Rhoshk.

Frederico was one of the most infamous of plotters and schemers, and he managed to make himself the Chamberlain to the last Imperator of House Zigurd. There were rumours at the time that he was responsible for the death of his predecessor, though when the diadem was placed upon his brow there were very few who would have been willing to challenge him. After his death the throne passed two two of his sons, Frederico II and Joaquim, only the latter of whom produced an heir, Iago, who was the father of Frederico III, who was deposed and died in prison, leaving it to his young son Frederico (later the IV) to scheme to regain the throne.

House Terrasi has proven to be a remarkably fecund house, and they have managed to plant their own members in most of the great cities of the Imperium. As a result, the former head of the House, Sofia, was known as the Grandmother of the Imperium (there are even connections between House Terrasi and House Rendakis). Sofia was known for playing a very long and complex game, the contours of which are as of yet not fully known.

Their sign is a golden hawk in flight, a symbol (they claim) of their prominence in the succession. There are still members of the House to scheme and plot to regain the throne that they feel was rightfully theirs. The fact that their dynasty was so short-lived and so unsuccessful has left a substantial chip on their collective shoulder, and they yearn for a chance to regain their family’s lost prestige.

They have been known for their extremely contentious relationship with the Archbishop of Sperezo, one of the foremost primates of the realm. As with so many other powerful figures in the Imperium, there is an eternal conflict between the powers spiritual and temporal. The current Archbishop Sergio, however, has begun to scheme with the current leaders of House Terrasi, seeing in them the opportunity to attain the position that he yearns for the most: that of Prefect. It remains to be seen whether their scheming will bear fruit or whether it will meet the ignominious fate that has so often greeted their efforts.

The current head of their House is one Irisa who, upon the death of her husband Cesare, has come into an even larger amount of money, with which she continues to amass an army of mercenaries and others that she thinks will be useful for her in the conflict that she sees seething on the horizon. With her two sons, Juan and Alexander, she seeks to gain advantage in whatever way she can. She is known by her enemies as the Eternal Widow, given her penchant for marrying rich men who die under mysterious circumstances and leave her a great deal of money (her last husband was her fourth).

Juan and Alexander are both the best and the worst of the house, for while they are both handsome, charming, and artistic, they are also infamous for their malice and their cruelty, and there are dark rumours of the evils that they perpetrate on the younger members of their own House, to say nothing of the common folk of the city.

Dissertation Days (47): Back to Work I Go

Well, we returned back to work today. The Dissertation is coming along quite nicely, and I am actually confident that I can produce a workable, submittable draft by the middle of September. Not, mind you, that that will be the final version, but I want the Adviser to have seen all of the chapters in some form before I start sending out applications.

And, what’s more, I finally found that missing piece that’s been eluding me for so long. When I wrote this sentence, I knew that, at last, the pieces were sliding into place: “I then turn to each of the films, beginning with Cleopatra, moving to Fall, and ending with The Bible, showing how each can be understood as a form of melancholy utopia, mourning a world that might have been but can never be.”

It’s that last bit that I find to be the most useful, as it helps me to make clear that what I am working toward is an understanding of these films and their affective charge. I have to say, this is the clearest expression yet of the central claim that I’m setting out in this chapter, and that is an amazing feeling.

Tomorrow, I am going to work on setting out some of the important contextual material, particularly the (failed) promise of the United Nations and the increasing disintegration of the old imperial powers and the United States ascendancy. With a 1,000 word goal per day, I think I should be able to knock this section out of the park within the week. What’s more, I might even be able to move into the theory section. We’re picking up steam, folks!

As I’ve said before, I think I’m going to aim for 15K words on this chapter, possibly a bit more. I think that will be enough to do justice to the complexity of the argument. And besides, I really just want to get this thing out of the door as soon as possible.

The Adviser has suggested that I might do a Chapter 5, and…yeah. That’s not happening. Gotta get this shit done!

Also, I’ve been working on job materials, and they are coming along quite well. I am surprisingly excited about being on the job market. It’s a good feeling.

So, tomorrow is definitely going to be a tremendously productive day. I can feel it.

And I can do it.

World Building (6): Haranshar

The empire of Haranshar is without question the leading political power on the continent of Aridikh and possibly the entire world. Featuring numerous peoples, geographies, religions, and traditions, it is without question an empire without rival. It is precisely because of its titanic mass, however, that it has remained stymied in its attempts to bring either Korray (in its entirety) or the Imperium back under its aegis. The Shahs have enough to do to keep their own provinces under their control, and they simply do not have the resources or the manpower to make a concerted push of reconquest.

Haranshar is a remarkably diverse nation, with many different races and ethnicities living in an uneasy peace. While there have been, at the start of the novel, at least two decades of relative stability and prosperity, there are still rumblings, both among the great powers of the native Haransharin (which are the dominant ethnic group), as well as among their various subject peoples, many of whom want to assert their own form of independence. The example of the Imperium is a powerful one, and there are many that would like to form their own sovereign states.

Foremost among these is the Kingdom of Eshkum, which has rebelled several times under the leadership of their powerful queens, known as Kidakia (from one of whom the current Imperator Talinissia is descended). Like the Korrayin, the Eshkumites claim a type of foreign descent, claiming that they come from the lost lands of Larkoness beyond the farthest horizons of the ocean. They yearn for a deliverer, one who will lead them to independence.

Despite the polyglot nature of the empire, since the rise of the semi-mythical Xaryush in the far-distant past it has remained the policy of all Shahs to subscribe to the faith of Ormazdh. For them, the material world is one that should be celebrated and embraced rather than abandoned or disavowed (as is the case with the Church). Thus, the trappings of the good life are to be embraced and cultivated assiduously, rather than disavowed (as is the case with the Church, as we have seen). As a result, the quality of life in Haranshar is quite high, particularly in comparison to the Imperium. This is not to say that the culture is an egalitarian one, since that would be against the hierarchical ordering of the universe that is key to the Ormazdhian belief system.

Governmentally, the empire is divided into four xhusts that are aligned with the four cardinal points. Each of these is under the administration of a powerful noble general, a svateth. These four enormous provinces are: Shakastan (the north), Kusharstan (the east), Pishapur (the south, and the traditional homeland of the ethnic Haransharin), and Hamarkhan (the west). These are divided into numerous smaller provinces, each of which are headed by great noble families, all connected by often complicated bloodlines.

Although the many powers in the empire frequently clash with one another, they all owe at least nominal allegiance to the Shah, who as the King of Kings is both the god’s divine representative on earth as well as the central part of the government. While this may be true in theory, it is not always so true in practice, and it is not uncommon for the various potentates in both the royal family and outside of it to attempt to seize the throne. While the bureaucracy of the state may ensure that Haranshar as a whole continues to function, ever man who ascends the throne of Haranshar knows that his life will be at constant risk.

The military is a powerful presence in the empire, and they frequently provide the muscle. Of particular importance in the military are the armoured cavalry. These soldiers always come from the nobility, particularly those of ethnic Haransharin stock, and it is this core of shock troops that has enabled this ethnic group to maintain its hold over its fractious empire. However, it is also a source of possible rebellion, as the events of the novels will make clear.

Women in Haranshar occupy a complicated but generally empowered position. They frequently circulate in the highest halls of power, and there is no law that states that they cannot assume the title of Shah should the need arise. Indeed, thre have been several women who have managed to secure a reign in their own right, though it must be noted that Haransharin law does demand that if a son is born his claim to the throne shall surpass that of any sisters that he might have, regardless of their birth order. Women can own property in their own right, and they can occupy the position of head of House. However, there are bans preventing them from occupying positions of authority in either the Ormazdhian Church or in the army. This does not mean, however, that they cannot influence those spheres of life, merely that they must do so on the sly.

Unlike the Imperium, which can trace the bloodline of its ruling house back to its very origins, Haranshar has been ruled by a number of dynasties, most of which are not related to one another by blood. Indeed, it has only been by a supreme effort of will that the Shahs have managed to keep the entirety of Haranshar from breaking apart altogether, and it is for this reason that there has long existed a measure of cooperation between the rulers and the priesthood of Ormazdh. For both of them, the stability of the religious and the worldly ensures that the cosmos itself remains stable and perpetual.

Indeed, as the events of the novel will show in some detail, there are many who are still quite resentful of both the House Nirhan (to which the primary character Arshakh belongs)   their successors the Harqashiri. Many of the other great clans still seek an opportunity to claim hegemony over the lands that were once theirs. The scheming and plots that will emerge among these powerful families will come to have dreadful consequences for the entire world that they have sought so assiduously to maintain.

Novel Weekends (4): An Outline Emerges

While I wanted to work this weekend on producing new material, I decided that I needed to sketch out an outline, at both the macro and the micro level, so that I would have a good idea of the overall canvas as well as the role that my various characters would have in it. Luckily, I had at least some measure of guidance (given that the novel is a retelling of the Sassanid/Byzantine conflict), but I have a larger canvass to deal with, so that opens up many opportunities.

That has really occupied almost the entire day, to be quite honest. At the end of it, however, I think I have a pretty strong idea of how the four volumes (it’s expanded from a trilogy) will play out. I’m pretty happy with the way that the action is resolved at the end of the first volume, which has a nice cliff-hanger but still sees all the characters where they need to be and sets the stage nicely for the next volume.

At the heart of the thing is the cosmological conflict between spirit (called æther in this world) and matter and the concomitant strife between the Name and the Demiurge, the divine manifestations of these two principles. I think that there will be a climactic battle between them, since part of my intention is to show what it actually means when deities, not just their avatars, fight for the future of the world they seek to control.

I’m also making a point of including not one, not two, but three LGBTQ+ characters, and at least two of my characters are people of colour. Indeed, I think that the romance between two of my leads will actually prove fundamental to the conflicts that arise in books 3 and 4.

Making progress!

Dissertation Days (38): A New Beginning

Well, I finally had to break down and start a new draft of Chapter 4. The one that I was working on, that I ambitiously thought was the final version, was getting a bit unwieldy, and I could tell that I was started to repeat myself. Once it gets to that point in my composition, I usually find that it’s a little easier to start a clean draft, while leaving open the possibility that I can import bits from the earlier ones.

Fortunately, the one I produced today was one of the most clear-headed that I’ve made so far, largely because I really forced myself to write in a mostly linear fashion. I’m getting to the point where I need to do this in order for the whole thing to make sense, and it actually proved a good thing. It really forced me to drill down into the nitty-gritty, that part of the chapter process that I have always found to be the most forbidding and the most difficult.

I’m really, really hoping that this version of the Chapter will indeed be the one that I end up submitting. I’m going to hold myself accountable to the 1,000 words a day maxim, and I’m going to do everything in my power to make sure that they are 1,000 good words. If it all possible, I’d like to avoid the type of deep revisions that I encountered with Chapter 4. I think, if I really hold myself accountable, that I can do that.

Incidentally, I’m also working on a few other side projects, notably a conference paper about the role of women’s historical fiction in shaping contemporary understandings of antiquity. It’s not directly dissertation-related, but it’s adjacent (and I’m thinking that it might even be the makings of a second book project).

Tomorrow, I hope to finally take a deep breath and start the revision of the first two chapters. They probably won’t be that deep, as my committee seems to think they’re in good enough shape to pass muster, but I want to make sure that they are as polished as they can possibly be.

Finally, I wanted to note that I finished one of my research books today (the one on Mark Antony). I don’t know that I’ll use it, but it was a good read nonetheless. I’m thinking I might read Peter Brooks’ Reading for the Plot next.

Well, onward we go.

Dissertation Days (37): Back to Work

After a very rough weekend, I got back into the swing of things today with some decent work on Chapter 4. I only wrote 500 words, but I do see the entire chapter starting to cohere in a way that it didn’t before. I’m still not entirely certain that the pieces are all knitted together as tightly yet as I would like, but that should arrive soon.

Nowadays, I’m not so sure that the version I’ve been writing will be the absolute final version. I think it may take one more to make sure that everything appears as I want it to, and a great deal of how I proceed will stem from how much my adviser likes (or does not like) Chapter 3. Still, I am confident that I can have a draft of this chapter fairly ready for submission by the end of August, though I can also push it off to the end of September if need be.

Overall, the chapter is standing at about 9,500 words, so I would say that it’s about 3/5 done (I’m aiming for a 15,000 word limit). This will be one of my shorter chapters, but I’m happy with that. Sometimes, it really is better to focus on writing concisely rather than expansively.

In terms of what I produced today…well, I sketched in a few blank spaces in the historical context section. It wasn’t anything terribly complicated, to be perfectly honest, but hopefully those sentences will be the seeds for future development. More promising was the material I produced about Cleopatra. The more I reflect on this film–its industrial context, the plot, the formal elements that it mobilizes–the more fascinating it becomes. As I’ve said many times before, it seems to me that this film is critically undervalued, and I hope that my analysis of it helps others to see that, despite its weaknesses, it really tries to engage with the historical questions and pressures of the time.

At some point in the near future, possibly as later this week, I am going to go back and start revisiting my earlier chapters. I honestly haven’t looked at them that much since they were approved, and I want to start the revision process on them before it gets too late.

Given that tomorrow is a holiday, I might take a little time off to clean and work on the Novel. Then on Wednesday it’s back to work.