How to read safely in a science fictional universe

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After finishing Charles Yu’s How to Live Safely in a Science Fictional Universe, I can honestly say that I’m still not sure how to life safely in a science fictional universe. Whether this is a failing of the book’s contents or its title (or both or neither) I’ll let you decide.

Charles Yu, time travel technician/narrator of HTLSSFU (not to be confused with…or TO be confused with? Charles Yu our author) lives in Minor Universe 31, a universe in which “reality represents 13 percent of the total surface area [and] the remainder consists of a standard composite based SF substrate.” Which is to say – science fiction.

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Blondes have less fun

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Everything you need to know about Allie Brosh comes in the first paragraph of Hyperbole and a Half:

“Here is a re-creation of a drawing I did when I was five. It’s a guy with one normal arm and one absurdly fucking squiggly arm. What you can’t see is that in the original, the squiggly arm continues for the entire length of a roll of butcher paper. It started on one end and then just kept going until I ran out of paper.”

I’m listening…

While HAAH is Brosh’s first book, it is primarily a collection of pieces from her blog of the same name, itself a fabulous diary of essays/comics featuring Brosh as a crudely drawn but adorably emotive version of herself. In HAAH the book, Brosh’s essays cover everything from her encounter with a goose-perpetrated home invasion to the time she ate her grandfather’s entire birthday cake before his party, just to spite her mother…and to eat cake.  

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The meaning of Life After Life

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In The Simpsons’ sixth-season Halloween episode—”Treehouse of Horror V,” primarily remembered for its Shining knock-off, The Shinning—Homer accidentally turns his toaster into a time machine, travels back to the prehistoric age, and realizes that anything he does in the past has the capacity to change the future. It’s a lesson as pivotal to time travel (see: every story ever told about time travel) as it is irrelevant to everyday life. After all, we can’t not make decisions. Should our choices send us down one path at the expense of others—or, to get more J.J. Abrams about it, should each of our choices create countless additional paths which themselves generate still more simultaneously occurring futures—so be it. We’ll never know the difference.

Unless. Kate Atkinson’s Life After Life is elegantly concerned with this abundance of potential paths, and with the possibility that one might indeed be aware of their existence. At the heart of LAL is Ursula, born on a snowy night in 1910, dead within minutes, and then born again—on a snowy night in 1910. Nor is Ursula’s first rebirth her last: She dies in a variety of ways, and at a variety of ages, over the course of the book, and only in certain versions of her life does she mature enough to experience significant rites of passage, (or in some cases enough to make major contributions to the trajectory of world history). In this way, Life After Life is not so much about reincarnation—Ursula is in all iterations herself, never a cat or a horse or a blade of grass—and more about how even small choices have the power (or maybe just the capacity?) to redirect our lives. In other words, Ursula is not repeatedly reborn to a different set of circumstances, but rather given multiple opportunities to live within the same set of circumstances. It’s how she handles each life that shapes its direction.

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Katniss doesn’t have anything on Beatrice Prior

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Fans of the Young Adult Dystopia genre (YAD for short) should at this point be at least vaguely familiar with Divergent, the first book in a trilogy by Veronica Roth that tracks Beatrice (Tris) and various other residents of a post-apocalyptic Chicago whose society is divided into five factions, each founded on respect for a particular virtue (Candor/honesty, Abnegation/selflessness, Dauntless/bravery, Amity/peace and Erudite/intelligence.) Divergent, which comes out in movie form on March 21, was released in 2011, while Book #2 (Insurgent) came out in May 2012 and the final book in the series (minus all the BS “extras” Roth will publish over the coming years to reap untold profits from obsessive tweens) was released in October.

It’s always hard to review the second or third book in a series without inevitably giving away some of the haps in the preceding titles. But given the impending theatrical release of Divergent (which I reviewed about a year ago) I would be remiss to not weigh in on the Divergent series in its entirety, which feels* so plainly desperate to capitalize on the popularity of Hunger Games that one almost expects Katniss herself to wander into a scene by accident. (*In the interest of full disclosure, Roth did write Divergent before HG was a thing, and HG itself has been criticized for its similarity to other novels.)

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A little ode to Larry McMurtry

This week’s guest post comes to us from Tyler Allard: Princeton alum, good pal, and voted Most Likely to Become President in our high school (Spoiler: He has not yet been president). I swear I’ll be back in the reviewing saddle once I finish binge-watching all nine seasons of One Tree Hill my life calms down. 

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So….I have a literary man-crush on Larry McMurtry.

Perhaps I should back up a bit.

As a Washingtonian, I am drawn to works that exude a sense of place. After all, having grown up in a region that thinks of itself as a mélange of all the types and regional personalities that make up American culture (and whose local celebrities include members of Congress who — by their very job descriptions — are conceptualized as representing certain places), I am fascinated by the romantic notion that places have auras that can be embodied or captured. And what American place hovers more strongly in the American imagination than Texas?

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