Chaviano＇s Fables of an Extraterrestrial Grandmother is a pioneering Cuban science fiction novel with four interconnected plots that manifest their separate worlds--the Havana of Ana, the protagonist writer, the Neol...Chaviano＇s Fables of an Extraterrestrial Grandmother is a pioneering Cuban science fiction novel with four interconnected plots that manifest their separate worlds--the Havana of Ana, the protagonist writer, the Neolithic Celtic world of Merlin and Stonehenge, Faidir, the planet of Ijj e and the winged psyches with three eyes, and Rybel, the world of Ana＇s character Arlena, the ＂jumen＂ on the run in an alien planet after being wrecked in a space ship---through Ana＇s writing. Ana uses mental exercises and automatic writing to temporarily regress to a pre-rational state of consciousness where these parallel universes interpenetrate and cross in the locus of her subconscious. Writing for her is a form of possession that withdraws her fi＇om her immediate reality into a visionary state resembling that of a shaman. She is a writer being invented and written by her own characters. Her stories are not fictions, but already existing realities, and she is a channel by which they are able to manifest their existence through her writing. This science fiction vision of worlds within worlds suggests another origin of science fiction in the ancient literary genre of Menippean satire, a type of fiction that appeals to highly cosmopolitan, alienated readers who seek to renew contact with the sources of consciousness from which technological and social change have alienated them.展开更多
When Merlin first appears in Chaviano＇s Fables of an Extraterrestrial Grandmother as the wizard Soio, he reflects the imagination of Ana, the adolescent protagonist of the science fiction novel as she is in the proce...When Merlin first appears in Chaviano＇s Fables of an Extraterrestrial Grandmother as the wizard Soio, he reflects the imagination of Ana, the adolescent protagonist of the science fiction novel as she is in the process of writing the very novel the reader is reading. Later she will discover that her fictional creations are not the invention of her imagination but exist autonomously in parallel universes and are using her as a vehicle of inter-dimensional travel through time and space. Soio/Merlin gazes into his crystal ball, a microcosm that gathers the space-time energy fields of the parallel universes, and sees visions of the protagonists whose modes of existence are real in one and fictional in another parallel universe. Merlin is a Druid in exile from the Neolithic world of Celtic Britain who has crossed over from earthly life to existence in Rybel, a parallel universe. He had crossed over by lining up the Stone of the Past and the Mirror of the Future at the great circle of Stonehenge. The stone circle functioned as an astronomical observatory. Stonehenge is a microcosm, a circle that reflects and coordinates the larger circle of the universe, symbolized and embodied in the sphere or crystal ball that Merlin transmits to Ana in the form of the novel being read. All the characters are trying to coordinate dimensions of space and time in order to fly from one parallel universe to another. Chaviano emphasizes crossing boundaries of time and space. Her characters live in one world but belonging to another, yearn to make contact with the forces of the universe that will bring them home. Chaviano＇s use of the Merlin legend is original and takes into account archaeological evidence about the Celts, Druids, and Stonehenge.展开更多
文摘Chaviano＇s Fables of an Extraterrestrial Grandmother is a pioneering Cuban science fiction novel with four interconnected plots that manifest their separate worlds--the Havana of Ana, the protagonist writer, the Neolithic Celtic world of Merlin and Stonehenge, Faidir, the planet of Ijj e and the winged psyches with three eyes, and Rybel, the world of Ana＇s character Arlena, the ＂jumen＂ on the run in an alien planet after being wrecked in a space ship---through Ana＇s writing. Ana uses mental exercises and automatic writing to temporarily regress to a pre-rational state of consciousness where these parallel universes interpenetrate and cross in the locus of her subconscious. Writing for her is a form of possession that withdraws her fi＇om her immediate reality into a visionary state resembling that of a shaman. She is a writer being invented and written by her own characters. Her stories are not fictions, but already existing realities, and she is a channel by which they are able to manifest their existence through her writing. This science fiction vision of worlds within worlds suggests another origin of science fiction in the ancient literary genre of Menippean satire, a type of fiction that appeals to highly cosmopolitan, alienated readers who seek to renew contact with the sources of consciousness from which technological and social change have alienated them.
文摘When Merlin first appears in Chaviano＇s Fables of an Extraterrestrial Grandmother as the wizard Soio, he reflects the imagination of Ana, the adolescent protagonist of the science fiction novel as she is in the process of writing the very novel the reader is reading. Later she will discover that her fictional creations are not the invention of her imagination but exist autonomously in parallel universes and are using her as a vehicle of inter-dimensional travel through time and space. Soio/Merlin gazes into his crystal ball, a microcosm that gathers the space-time energy fields of the parallel universes, and sees visions of the protagonists whose modes of existence are real in one and fictional in another parallel universe. Merlin is a Druid in exile from the Neolithic world of Celtic Britain who has crossed over from earthly life to existence in Rybel, a parallel universe. He had crossed over by lining up the Stone of the Past and the Mirror of the Future at the great circle of Stonehenge. The stone circle functioned as an astronomical observatory. Stonehenge is a microcosm, a circle that reflects and coordinates the larger circle of the universe, symbolized and embodied in the sphere or crystal ball that Merlin transmits to Ana in the form of the novel being read. All the characters are trying to coordinate dimensions of space and time in order to fly from one parallel universe to another. Chaviano emphasizes crossing boundaries of time and space. Her characters live in one world but belonging to another, yearn to make contact with the forces of the universe that will bring them home. Chaviano＇s use of the Merlin legend is original and takes into account archaeological evidence about the Celts, Druids, and Stonehenge.
