MAN IN THE HIGH CASTLE - Fanfiction

Juliana Fink threw the coins six times and held her breath as they fell. She could feel the meaning then, without using the chart, as if it had been inside her all along.

“Sun at the top. Tui at the bottom. Empty at the centre (1)” Read Hawthorne Abendsen, and there was silence as they processed the information.

Instantly, Juliana was transported back, to her life before, to the time when she was married to Frank. How she thought she would have been happy. She remembered the store, and the nervous character who had run it, what was his name … something Childan … Robert? The artefacts inside had taken her back in time, to when America was different, when it was not a communist republic of the Soviet Union. She had heard people whispering about the book even then but she had not been interested. Not until the time was right, and her herald came. Joe. Brooding, sombre Joe. He had entered into her life briefly, and blown her life apart. He was the one who had introduced her to it, “The Grasshopper Lies Sleeping”, and awoken her curiosity. She hadn’t exactly welcomed his ideas – her life, empty as it was, was her own, and she was content with the tediousness of her daily routine – waking up, teaching Judo, cooking dinner, bed. Her later actions, cutting his throat when he had barred the door to prevent her from leaving, was something she would never forget. The memory made her tremble. I can't believe it. I can't stand it. Evil is not a view ... it's an ingredient in us. In the world. Poured over us, filtering into our bodies, minds, hearts, into the pavement itself (2).

What had kept her sane was the I-Ching, a legacy of the short-lived Japanese invasion, its words of wisdom coming directly from the oracle itself. It had spoken to her in her time of need, and pushed her forward, just when she had felt all hope was lost. “It furthers one to undertake something. It furthers one to cross the great water” (3)

Those were the exact words it had spoken to her as she had shaken in her car, squinting in the light of the department store window. It was then that she had resolved to continue her journey alone to Hawthorne Abendsen, and his fortress in the ‘high castle’. She recalled the nerves in her stomach as she had brushed her hair and unfolded the blue Italian dress from the box, dressing nervously before crossing the Cheyenne in the taxi, on her way to meet the Abendsen’s.

The writing itself was nothing special, but no-one could deny its spell. Perhaps it was because the idea was so vivid and so blasphemous which was why no-one could stop reading. Juliana certainly couldn’t. Imagine a world out of the grasp of Russia … the book certainly did not paint an age of happiness and roses but its ideas were enough to take hold in the people’s minds and plant questions. What would it have been like, if the war had turned out differently…? Everyone was talking about it, even the Russians. The subject had once come up at a dinner party she was present at, and the responses of her hosts had surprised her. The talk had turned to the book, as so often it did, and Frank had commented loudly, “We have had to suffer, pay the cost. But we did it for a good cause (4). To stop German world inundation.”
“Personally, I do not believe any hysterical talk of ‘world inundation’ by any people. Slavic, Chinese or Japanese.” (5) Olga had replied, her cheeks blushing slightly. Frank was taken aback and the conversation had swiftly changed. It was moments like that, that had shown Juliana the lack of common ground. Witness them, she had thought, drinking from English bone china cups, eating with U.S silver, listening Negro style music. Its all on the surface (6).

The Abendsen family home had surprised Juliana. There was music, and lights, and children’s toys visible. What about the rumours and the stories (7) ? Betty Abendsen had shown her into the study and she had finally met him, Hawthorne. A simply ordinary man, but with less then ordinary ideas.
“Do you know the Oracle?” She had pounced and he had declined. No, he did not know the Book of Changes either. Why did he write the book? His answers depressed her deeply.
“Your book showed us that there is a way out! You’ve done a lot for me; now I can see there’s nothing to be afraid of, nothing to want or hate or avoid, or run from. Or pursue (8)”
“Its just a story” Hawthorne had replied quietly.
Juliana shook her head in disbelief. “Just a story? I drove up here with one of the Gestapo, he was coming here to kill you! The next one who comes here won’t have me to stop him!”
“You say the next one. What happened?” Betty had asked brusquely.
“I killed him. You’re so fatalistic, so resigned to your fate. Do you know that too, the way you knew the world in your book?” (9)
Hawthorne exchanged a long look with his wife, and sighed.
“Fine. Considering what you have done for me, I’ll tell you. Yes. I made thousands of choices, and asked the Oracle. I asked about the historic period. The subject. The characters. The plot. It took years. So yes, you are right. You must consult the Oracle quite a bit yourself, to have known.”
“But why? Why is the Oracle talking to us in this way? Why a novel? And why about the Russians losing the war? Why this particular story?”
Hawthone and Betty were silent.
“I’ll ask it, if you won’t. I need to know.”
And so Juliana Fink had thrown the coins six times and held her breath as they fell:
Sun at the top. Tui at the bottom. Empty at the centre (1)
“Its Chung Fu” Juliana said, “Inner truth.”
“This means … that my book is true, doesn’t it? That Russia lost the war?”
“Yes. And Germany and Japan invaded America.”
“I’m not sure of anything anymore” Juliana whispered.
Abendsen stared into the fireplace, his eyes distant, his thoughts foggy.
“Would you like me to autograph a copy of the book for you?” (10) He mumbled. Juliana stared at him for a moment, then shook her head.
“No … thank you. I should be going. I’m terribly sorry.” She began to make her way to the door.
“Its terribly, terribly disruptive,” Betty replied, “but so is reality” (11)
“The truth can be as terrible as death, just harder to find” Juliana answered and stepped out the front door.
“Thank you. And good night” She said then turned and began retracing her steps along the cobbled path. She could feel the Abendsen’s eyes boring into her back as she walked, their mind’s still grappling with the weight of the Oracle’s revelations. It didn’t matter that the Oracle didn’t reveal a new, happier ending, it was the fact that the option was there – she could see now how life really was. As she made her way down the street, back to the motel, Juliana moved easily, bright and living, as one does who finally understood.
This reality anyway.
*
The following quotes have been taken from Philip K Dicks Man In The High Castle:
1 - p. 246
2 - p. 97
3 - 209
4 - 113
5 - 113
6 - 112
7 - 240
8 - 244
9 - 245
10 - 247
11 – 247

Dick, Philip K. (1962). Man in the high castle. London: United Kingdom. Orion Publishing Group




The Narrative Structure
According to Vogler (1998, as cited on Wikipedia) there is a common narrative structure visible in most stories. We can see they are present in Philip K. Dick’s story, and also in my fanfiction.
The Man in the High Castle sets the scene of an ORDINARY WORLD. In my fanfiction, this world is revealed in Juliana’s flashback, in which the United States has been invaded by the Soviet Union during the Cold War period. The CALL TO ADVENTURE is signalled by Joe, the ‘Italian truck driver’ from Philip K. Dick’s story. Juliana is reluctant at first, as she is settled in her ordinary life as a judo instructor in Colorado, but something is sending along this journey. After she kills Joe (one of her TESTS), she is furthered along her journey by her MENTOR, which in my view, would be the Oracle itself (or the I-Ching). The SUPREME ORDEAL is her penultimate meeting with the writer of the “Grasshopper Lies Heavy”, Hawthorne Abendsen, and his wife Betty (all characters from the original story), and the subsequent . Her REWARD is learning the truth about the nature of reality – the Chung Fu – which is that there are many possible dimensions and versions of history. Leaving the house of the Abendsen’s signals the ROAD BACK to the Ordinary World, and it is her walk back to the motel that signifies the RESURRECTION – she knows who she is now and that there is much more to life then she realised before taking this journey. She has been ‘transformed by the experience’.
I have not used all of Vogler’s character archetypes in my story. However, I have used the HERO, which would be Juliana Fink. She is willing to sacrifice (she kills Joe, to save Hawthorne Abendsen), she is unique (female, strong), she appears as an ‘antihero’ (her presence at the Abendsen’s is not overly appreciated) and also as a ‘loner’ hero (she continues her journey after Joe’s death alone, and leaves the Abendsen’s alone).
The MENTOR would be the I-Ching itself, as it is constantly guiding Juliana. It is inventive (it takes one form as the ‘Grasshopper Lies Heavy’ story), and its appearance in the story is very significant (it proves its own presence and the theory of other realities). The HERALD is Joe, who appears early on in the story and issues the challenge to Juliana to find Hawthorne with him. This part can also be shared by the SHADOW. Joe is one, and the other one I would say is political situation itself. This is because the presence of the Soviet Union in America is also about the suppressing of an idea or a reality, it is “unexpressed” and “unrealised”. It’s very function is to challenge the HERO on all levels and Vogler (1998, as cited on Wikipedia) writes that it may take several forms.
I believe that Hawthorne Abendsen takes on the role of three of Voglers (1998) archetypes. He is the TRICKSTER because he embodies the desire for change (he wrote the book). He is also the SHAPESHIFTER because he keeps the hero guessing (he does not want to own up to the truth of the Oracle’s involvement in the story) and because of this brings doubt in to the story. Finally, he is the HERALD, as it is his story that inspires Juliana to set out on her journey (further pushed by Joe).

REFERENCES
The Writer's Journey: Mythic Structure for Writers. 2011, August 4. Retrieved 2 November, 2011 from: http://en.wikipedia.org/wiki/The_Writer%27s_Journey:_Mythic_Structure_for_Writer

week 11

Week 11: How does Hill define reality TV?

Hills classifies reality TV as three main parts in defining a genre which are television industry, television scholar and television audiences. The most of television industries is creating factual entertainment as realty TV show or popular factual television in traditional. But now, Hill says reality TV is flexible which could fit any types of TV programs that industry wants to make high audiences watch rate.

There is an argument of defining reality TV from scholar in the text. Hill points that most of television scholars have same trend to discuss reality TV to ‘reality genre’. They highlight that “subgenres within realty TV are the result of a complex borrowing from other television genres.”(p 49).  The definitions from television audiences are quite different as well. The reason they have several definition is because they have added what they think of reality TV and it depends on what show they have been watched.

Thus, why reality TV shows is so successful is because it has created the real environment, some real personality on character and manipulate how the viewers would feel. There is no such correct definition of reality TV but many completed definition of reality genre.

Hill, A. (2005) The reality genre. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 14 – 40). Oxon: Routledge. 

week 6

Week 6 : What are the underlying thematics of Princess Mononoke? How does it ‘defamiliarise’ its historical setting, according to Napier (2005)?

Princess mononoke is a story about how human ignore natural environment to mine ores. The consequence of being destroy nature is that animals from forest revenge. Living in a harmony with nature always is a issue until now. Through the whole story, love has been a clue between Ashitaka and San, between San and wolf and between forest spirit and forest.

At the beginning of the films, San is not the one playing the hero, but is Ashitaka shows up with a handsome looking and ride in a horse. This is quite clear for audiences that Ashitaka is a key character for the whole film. However, for the whole film, the animals in forest are the clue is a clear clue; they fight for freedom and get survival. The love between Ashitaka and San is another clue that is potential. The most wonderful sense is when Ashitaka says to San that she is so beauty. Why is that so impressive? From Ashitaka’s point of view, he is into her and it’s a reveal. He is nearly dead, so it’s what he want to tell San and hope she can understand. However, San seems shocked, the reason why she so uncomfortable is because she never like human before even though she is a human and no one says what Ashitaka says before. She is brought up by wolfs. She changes from wanting to kill Ashitaka at first to fall in love with him. That wells up out of a theme with ‘love’, closely link with ‘freedom’. From my point of view, the behavior that these animal fight with human although they know that’s would be no chance to win is a dauntless spirit. The ‘family love’ is happening at Moro saves San when she is nearly dead. And at the ends, the forest spirit, Jigo sacrifices its life to restore the earth. That’s a love to his forest.

According to Napier (2005), he points out “de-familiarizes the myth of the Japanese as living in harmony with nature de-familiarizes conventional notion of Japanese history through Miyazak’s decision to set the film during the fourteenth-century.  ” (2005, p. 233). Furthermore, Miyazaki choose make the film while anime is being ‘high cultural’ at that time to represent the inharmonious between human and nature when the world is being technical. This film is made from myth which is not real history.   

Napier, S. (2005). Anime: from Akira to Howl's Moving Castle. Hampshire: Palgrave Macmillan.

week 10

Week 10 : How do you think Buffy has influenced the contemporary vampire drama “True Blood” and the “Twilight” series of novels and films?

In late 1990s, Buffy the Vampire Slayer actually can be thought as a master work of this type of TV, it's one of the most popular American TV series. Later on, there is a great mass fervour of vampire move in American. There are two examples of contemporary works which are ‘true blood’ and ‘twilight’. I am most of teenagers have seen any of them and wait to see more with passion.

These three works have similarity that they all got romantic gothic literature. Romantic gothic literature emphasizes that creation freedom, against classism and requires breakthrough literature reality. They re-excavate the history themes that classism thinks it’s dark. These three vampire TV shows do break the normal traditional way of against forces of darkness. Not only excellent special effects and confusing plots have appeal us so much but also the film has add the elements of youth and love. In these stories, love has been a clue. Buffy has fallen in love Angel however it makes Angel loses his soul become a monster. In season 5, Buffy sacrifice herself in order to save the world. While Buffy is hunting the vampires, she is try find a balance of the family, friendship and love.

Through what I find in the ‘Buffy’, these are what happen in the ‘true blood’ and ‘twilight’ as well. ‘Buffy’ has been the leader of this type of film is because it breaks the rules of saying darkness and love. Vampires are not always bad, they have got love same as human. But human sometimes can be so selfish and evil while they feel lost. We can easily find the later work of vampire films has some shadow of ‘Buffy’.

Has courage to break down the normal rules to represent the niceness in a different way. It’s like find a little bit sunshine in the dark, its novelty. That’s the reason ‘buffy’ would have a impressive effect to later vampire works.

Rose, A (2002) Of creatures and creators: Buffy does Frankenstein, in R. Wilcox & D. Lavery (eds) Fighting the forces: what’s at stake in Buffy the vampire slayer. Lanham: Rowman and Littlefield.

week 9

Week 9 what role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?

According to Hill (2004), fandom has enthusiastic passions with cult TV. Once they are into any one of cult TV they will appreciate of the work and keep their loyalty to watch cult TV. Audiences would like to watch cult TV through the fan culture. Fans for cult TV distinguish to other genres TV program because they might make the elements of making TV show. A great cult TV wouldn’t be made for commercial activities; it’s more for fans activities, because “always define themselves against ‘consumers’.”(p.p 4, pg 517). Cult TV would become one of their habits through their lifestyle.

Media helps fans have more than one show or one star, they share qualities with others. They use ‘intersexual network’ to connect cult into their life. There are lost of website use ‘cult’ as a title because that’s what fans would like to see. Internet would be a new stage for fans to collect, share and discuss what they have found about ‘cult’ from their daily life

According to Hill (2004), the definition of cult is more equal fan audience rather than a TV show. In somehow, cult TV shows is made of audiences rather than made by produce, because fandom actually has big effect for propaganda.

Hills, M. (2004). Defining Cult TV; Texts, Inter-texts and Fan Audiences, The Television Studies Reader, in R. C. Allen & A. Hill. London and New York:Routledge.  

week 4 late post

Week 4:  how does the fantasy genre relate to modern media such as video games?

There are many modern media around us such as computer games, Facebook, email, video games.  Through the text, I can tell most of the video games are made from fantasy. “The Lord of the Rings gave rise to one of the most popular of the modern game-genres, the RPG (roleplaying game).” (Burn, 2005, n.p).

Harry potter stories have been considered as a good structure of games. In the video game, players don’t need to be Harry Potter,  they can be themselves in the game they can play the way they like. Now days, players don’t like the game is too safe and regulated. Although the video game is based on fantasy genre, it’s different from the book or film. In the film, we only see Harry has the power to against the spider, in the game is different players’ skill become most important power , they have their own way to make game has the scene only happens in the game.  So actually, a fantasy move could be shown so many types in the video games.

Furthermore, Harry is gaining his power for later challenges by go the lesson in the games, in the meantime,  the players  is improving their play skills as well.  One of the group, they are caring about how they feel of Harry, is like in the move. They do feel the same position. However, there are some plays don’t have time to worry about Harry’s feeling.  That’s may is the difference between film and games. The person controls the feeling whoever is the narrator or the players.

Reference:

Burn, A (2005). ‘Potter-Literacy-from book to game and back again; literature, film,game and cross-media literacy’, in papers: Explorations into Children’s Literature Vol 14,NO3

week 3 late post

Week 3 ：how does Attebery(1980) define fantasy? Find at least 5 definitions?

Atterbey thinks the fantasy world is like the film ‘The Lord of Rings’. Fantasy is an arbitrary construct with all sorts of imagination.

 “Any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law-that is fantasy.” Fantasy can be made up with around magic objects. The environment can be one of the elements to show fantasy. According the text, except from the objects, characters, events can help us make difference between fantasy and related genres. “Fantasy is a game of sorts, and it demands that one play whole-heartedly, accepting for the moment all rules and turns of the game.” The ‘marvelous’ Is the point of fantasy because all supernatural happenings is unquestionably of fantasy. Fantasy is like ‘fairytale’ more generally termed nonsense or absurdity. Fantasy can be found any of normal and basic things in the life they are happened in normal life such as life, death, good, and evil. This is folktale. “folktale was one of the early genres of folktale.

Attebery, B. (1980). Locating fantasy. In The Fantasy Tradition in American Literature: From Irving to Le Guinn (pp. 2-9). Bloomington: Indiana UP, 1980