The Tracker

The Tracker

I don’t know what it is, but I’ve found that Australians make great historical films. On this very site, I’ve reviewed Gallipoli (here) and Beneath Hill 60 (here), both about Australians in the First World War. This time we’ll stay in Australia itself, in the 1920s, with Rolf de Heer’s 2002 “meat pie Western” The Tracker.

This film is part of a long tradition of Australian films transposing the outlook and tropes of the American Western to the unique conditions of the Australian Outback. It makes a lot of sense: in both countries, Anglophone settler colonists inflicted massive suffering upon indigenous populations.

This period lasted longer in Australia. Their equivalent of the “closing of the West”, which in the US was the opening of Oklahoma Territory to white settlers, is often said to be sometime in the 1930s.

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Berlin

Berlin

The Weimar Republic is remembered mostly for the carnage that succeeded it, once the Nazis had been able to exploit its contradictions and plunged Europe into genocide and war. Jason Lutes’ behemoth graphic novel Berlin gives the period between the fall of the Kaiser and the coming of the Führer its due by focusing on the vibrance of the culture that flourished in the German capital.

There are a good many characters in Berlin. The sprawl is reminiscent of a James Michener or an Edward Rutherfurd novel. Many are bohemian and many are working-class, and some are not German. One interesting subplot involves African American musicians who have come to the city on tour. This is not a city that is maudlin and host to only cheap drama; Lutes makes Berlin come alive. You meet artists in their parties (some behind closed doors), political activists and trade unionists.

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The General

The General

The British Army of World War I was said to have been composed of “lions led by donkeys.” Historians have recently disputed that characterization, arguing that the British general staff consisted of competent men who were out of their depth when faced with the new military technology of the day; they were experts with cavalry but novices with the machine gun. C.S. Forester’s 1936 novel The General is a story of one of the alleged donkeys.

The General follows Herbert Curzon (not the historical figure George Curzon) from his early promise as a junior officer in the Second Boer War to the upper ranks of the British Army. It is both an intimate book and also epic, if you could make a story of about twenty years such.

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Perils of Sea and Sky

Perils of Sea and Sky

There’s something almost natural about treating the sea and the sky as if they were the same, or very similar. Both are vast expanses to which human beings cannot naturally travel. The language of space travel is predicated on a metaphor with sea travel; science fiction is filled with space ships, and naval classifications are likewise common (note that in Star Wars, the “destroyer” part of “Star Destroyer” is the type of ship).

Disney’s Treasure Planet makes the metaphor literal, as does Bennett Coles’ novel Winds of Marque. Lilian Horn’s Perils of Sea and Sky, to be released by the Rising Action Publishing Collective in September, is another entry in this genre.

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American Spy

American Spy

As ethnic minorities advance through the ranks of the United States government, some have wondered, not unreasonably, why they should owe loyalty to an institution that has oppressed, and in some cases still does oppress, them. Such criticisms were leveled at Barack Obama when he became president.

Conversely, few spy thrillers have dwelled on the interior majority-minority dynamics of the country in question. American Spy, Lauren Wilkinson’s 2019 spy novel, quite uniquely does both at once. (And has been praised by the same Obama for it.)

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The Cunning Man

The Cunning Man

It’s often overlooked in speculative fiction that “urban fantasy” refers to an urbanized society rather than a strictly urban area. It is, in fact, quite possible for a novel in this genre to exist in a less dense location, like the expanses of the American West.

That is what D.J. Butler and Aaron Michael Ritchey have done in The Cunning Man, published by Baen Books in 2019.

The stock market has imploded. The economy has crashed. It is the dark depths of the Great Depression in Utah, and miners and mine owners are locked in deep struggle, the former to survive as people, the latter to wring more dollars out of the former.

Into this volatile situation come two people, father and son, with a sincere desire to help, an earnest faith in God as they understand Him, and well-honed abilities in the workings of a wide variety of folk magic.

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Just the Plague

Just the Plague

I am fond of saying to my friends, especially liberal ones, that the state is not neutral. Any government is fundamentally a “legitimate monopoly on violence,” to use the political-science definition of the word; a blunt instrument of death on those it believes are breaking the social order. Given the country’s history, it makes sense that a Russian writer could elaborate on that point during a period of great upheaval. That writer is Lyudmila Ulitskaya and the novel is Just the Plague.

Just the Plague was written in the 1980s as a movie script, and was rewritten in 2020 as a response to pressing contemporary events. (I should note that Natasha Rapoport claims to have worked with Ulitskaya on the original screenplay. Ulitskaya has not addressed the accusation.) It concerns an outbreak of the pneumonic plague in Stalin’s Soviet Union, but the parallel with our times is clear.

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In Memoriam: Eric Flint

Eric Flint

We at Never Was join many others in the alternate-history community in mourning the passing of Eric Flint.

Flint was the mastermind behind the sprawling 1632 series of time-travel alternate-history novels, in which the small town of Grantville, West Virginia is taken from the year 2000 and dropped into the middle of Thuringia, Germany during the Thirty Years’ War. This series grew to involve a great many writers in its novels and anthologies, as well as opening up contributions to the public via the Grantville Gazette.

Flint pioneered a collaborative model of science-fiction writing, helped make Baen Books what it is today, helped create the Baen Free Library, and wrote many other books in various genres with a number of co-authors.

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Let the Mountains Be My Grave

Let the Mountains Be My Grave

A number of countries in Europe define their World War II histories by their resistance fighters. Partisans have been made into heroes since the end of the war, in movies and in novels. In Let the Mountains Be My Grave, Francesca Tacchi (xe/xem) puts not one, but two unique twists on this familiar narrative.

The main character, Veleno, is a partisan in 1944 Italy, fighting the Germans as the Allies move north up the peninsula. Veleno is not aided solely by worldly means; he is in the possession of a locket sacred to Angitia, a goddess of various peoples of central Italy before the Romans conquered the region. His hatred of the occupiers of his homeland is so profound that he has vowed to kill as many Germans as he can before he dies, a fate he feels is inevitable and imminent.

The second element that makes Let the Mountains Be My Grave unique: its central romance is between two men.

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The Republic of Virginia

The Republic of Virginia

I have, with the exception of my four years at the College of William & Mary, been a lifelong resident of northern Virginia, which is a fancy way of referring to the suburban sprawl of Washington DC on the southern banks of the Potomac. We joke that this region is “occupied Virginia,” and Ed Gillespie, the Republican nominee for governor in 2017, called us “not real Virginians.”

As such, my interaction with the rest of the state can be slight. I was interested, then, to see that Charles Bateman had written an alternate-history novel, The Republic of Virginia: Brothers and Battlelines of 1861, focusing on the state.

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