Afbeelding van de auteur.

Simon Stålenhag

Auteur van The Electric State

14 Werken 1,055 Leden 51 Besprekingen Favoriet van 3 leden

Over de Auteur

Fotografie: LA2

Werken van Simon Stålenhag

The Electric State (2017) 342 exemplaren
Tales from the Loop (2015) 338 exemplaren
Things from the Flood (2016) 224 exemplaren
The Labyrinth (2020) 101 exemplaren
Urtidsbilder (2019) — Illustrator — 12 exemplaren
Mesék a hurokból (2020) 3 exemplaren
Sanal Ülke (Ciltli) (2021) 3 exemplaren
STALENHAG SIMON - LOOP - STALE (2017) 2 exemplaren
Flood (2021) 1 exemplaar
Labyrinthe 1 exemplaar

Tagged

Algemene kennis

Geboortedatum
1984-01-20
Geslacht
male
Nationaliteit
Sweden

Leden

Besprekingen

Very dark, depressing, spooky, and beautiful.
 
Gemarkeerd
markm2315 | 4 andere besprekingen | Feb 3, 2024 |
Another brilliant work, in which a seemingly advancing society still thrums with the undercurrent of a dark and mysterious past that threatens to resurface. In some ways, it's an illustration of how we can never escape the things we've made or the things we've done as a human race, even as we remove all the physical signs of its existence. In this installment we follow the narrator through the next phase of his coming-of-age journey - being evacuated from his home for three years when the decommissioned Loop floods, and exploring more of the tech-ridden landscape with new companions. The same motifs occur as in the first book, but with a new dimension: it's no longer a series of idyllic childhood expeditions but more of a growing discovery of the xenophobia and cruelty of humans, in parallel with our narrator's struggle with acceptance among his own age group.

One example that painfully struck me was "The Vagabonds", where fear ultimately decided the fate of these sentient robots which had fled one massacre in Russia... only to be rounded up a second time by the Swedish locals. And yet the robots' conduct seemed at worst simply childlike - they settled in abandoned houses, worshipping living creatures and collecting bright, soft objects out of fascination. It's yet another statement of how this world can be a cruel place, crushing those who are not prepared for it and had no choice in the matter, whether they are humans or robots, and how this cruelty may simply be a part of our nature. The narrator himself exhibits one such moment when, frustrated with an AI teddy bear that won't talk, he points a gun at it and finally receives a response.

Yet another, more horrifying dimension is added to the book when it turns out the flood might be more than just water clogging the Loop - and this is where I found some parallels to the Chernobyl nuclear disaster, which turned up a species of fungi that consumes radioactive material. In Things From the Flood an "unknown biological component" infects the hulking machines in a macabre and fascinating way, producing growths that look like flesh and blood and even, in some cases, entire series of limbs. Once again, as with Tales From the Loop, there's that quality that comes with anecdotes where you have no way of confirming what's true and what's false, and yet you can't help but suspect that the strangest rumors of why this happened might actually be true. Perhaps unsurprisingly, I found myself sympathizing more with the robots than the humans, because all things considered they were created and brought into the world without a choice, and were doomed to destruction whether by human or alien hands.

On another note, the brief cyberpunk-like glimpse into city life (and the accompanying artwork) was so neatly conceived. I found the concept of vertical cities intriguing - entire megabuildings containing thousands of apartment units, with entire schools and subways on the bottom level, definitely seems like something a futuristic world would have to free up land for various purposes. The logistics of such a place would be mind-boggling but fascinating to consider. And this setting is also where the familiar phantasmagorical images of The Electric State begin to show themselves, from creepy grinning cat balloons to deceptively cheerful floating billboards. Once again I'm utterly impressed by Stalenhag's comprehensive vision of this alternate-universe dystopia, and I would love to know the process through which he created all this.

Finally, the ending seems to take us full circle - "closing the loop" as it were, even as we're reminded that what is buried does not always stay that way. The narrator returns to his home with a faint feeling of loss that he manages to shake off as the immediacy of everyday life begins to set in again. It really illustrates the fleeting nature of human memory, how quickly we can forget the darkness of our history, and I love the hints sprinkled here and there that the Loop and its mechanical children may not be completely gone.

Definitely recommending to all my sci-fi enthusiast friends!

Adding my favorite quotes to come back to later:

"Somewhere out there beyond the cordons, beyond the fields and marshes, abandoned machines roamed like stray dogs. They wandered about impatiently, restless in the new wind sweeping through the country. They smelled something in the air, something unfamiliar.
Perhaps, if we had listened closely, we would also have heard it. We may have heard the sound rising from the forgotten and sealed caverns in the depths: the muffled pounding from something trying to get out."

"In everyday life, our surroundings only shifted slowly and subtly, such as altered designs of door handles and alarm switches, a soft color change in the glow of streetlights and lightbulbs, or a new font on the signs in the subway... Each is a minor change, but often, when looking back at them all together, they are as glaringly obvious as a sudden industrial collapse."

"Change is the dynamo that slowly but inevitably drives our society forward, while past days are clouded more and more in mystery and myth. The dynamo only spins one way - there are no return tickets to the land disappearing in the mists behind us."

"In the twilight hours, it is hard to discern the details marking the passage of two decades. It is hard to separate memory from reality; my mind fills out all the blurry sections. At dusk, the field looks like an ice-covered lake. You could almost believe that the flood is back."

"They were called vagabonds. They were an odd group, and were fascinated by colorful fabric, complex patterns, fur, and feathers. Anything organic and soft was exotic and highly valuable to them, and they seemed to have developed some form of religious worship of biology and nature."

"I happened to glance out at the landscape outside the window and was struck by a brief sensation. It was a sense of something having been lost, but also a sense that I was already forgetting what it was. I shook the feeling off, turned up the volume on my stereo, and returned to more important things - in thirty minutes I was supposed to be at Martin Hagegard's party and my hair had to be just so."

"Somewhere deep within the bedrock, where the nation kept its radioactive waste and where only machines labored, there were now endless rows of echo spheres filled with concrete. If we had been able to linger there without being incinerated by the radiation, and if we had been able to put our ear to the spheres, we might have heard it - the nervous heartbeats of something in there, slumbering restlessly."
… (meer)
 
Gemarkeerd
Myridia | 12 andere besprekingen | Jan 19, 2024 |
A hauntingly beautiful and visceral work of art that once again reminds me what a privilege it is to walk through this artist's imagination.

The book reads like a series of vignettes interspersed with illustrations that made my heart ache for a world I never lived in. Some of the paintings have such a dreamlike quality, with hazy edges as though remembered distantly, from a childhood long ago - so that even as they depict moments of childhood against the forbidding technology of the Loop, they still remain so human and nostalgic. It made me think of my own childhood and the bleak landscape that it was set in; the stories speak to the resilience, adaptiveness, and even optimism of children in their ability to seek out things that give their lives meaning even in a dystopian environment.

In other words, this is a remarkable instance of how pictures can be worth a thousand words, but also how a few words can tell us so much about humanity and about ourselves. Stalenhag is phenomenal at depicting how small we are against our enormous, magnificent and terrifying creations, either as extensions of ourselves or manifestations of our lofty goals - and yet there are some things that, just as the description states, are instantly recognizable. The ebb and tide of human life continues in spite of the constant danger and disturbance, and we are presented with an eclectic cast of characters illustrating the different ways people react to the unknown. A touch of the macabre here and there makes it all unforgettable.

And, of course, I would be remiss if I didn't admire the science behind the science fiction. I love the interspersed snippets that read like little ads or informational blurbs, as well as the strange rumors that are never fully confirmed or discredited. The vast mystery of the Loop and its effects on space-time; aerial travel via the magnetrine effect; artificial nervous systems and sentient machines that are sometimes as lost as the humans in this alternate universe. ("The Escapee" particularly tugs at my heartstrings and I would love to see the side of the story from one of these robots.) The possibility of time travel, both for us and for creatures that came before us (the dinosaurs come to mind, along with the giant two-legged robots that look, walk and turn in ways strangely reminiscent of them). And then there is Nature slowly but surely reclaiming what is left of our abandoned forays. One of the final pieces of art accurately illustrates just that - the end of a technological age in a bleak landscape of man-made structures, broken-down humanoid robots sitting in disarray beneath gray skies.

I could probably go on for hours about the thoughts and emotions that this work invoked, but I'll simply end with some quotes that stuck with me:

"Small flares of light swarmed above the mounting around the tower. They danced in the cold air, emitting soft siren calls that echoed in the valley."

"Some days are like jittery, malicious clockwork -- sometimes things freeze mid-movement and we age several years in a few seconds."

"Suddenly, our machines were bestowed balance and grace previously reserved for biological organisms."

"I remember at the end of August, when the vacationers started to migrate back into the city and the guest pier was deserted, you could hear the distant breaths of the vane turbines rise and fall under the water, like monotonous whale songs in the chilly water."

"A moist mass of cardboard boxes, pillows, and mattresses had erupted from the front door, like the house was vomiting forth its stomach contents."

"If I look at my memories from the side, that weekend is a black line, like the dark boundary in the rock layers left by the disaster that killed all the dinosaurs."

"A new and dark inner landscape had opened up, and we wanted nothing more than to talk about it. We abdicated from childhood, tried to learn how to talk as adults, and shamefully glanced back at our playgrounds."

"... and then we returned to our old playgrounds like zombies around a mall. We sat wedged into the swings outside the school, or crouched in someone's old treehouse, smoking stolen cigarettes."

"We walked in long lines through winter nights, and you could see little points of light go on and off in the darkness - cigarettes smoked by teenagers who had gathered around their wrecked memories, like a requiem.
We made our nights our days, squinted at the horizon, and sighed. Way over there, the morning dawned."


An unforgettable book that will always have a place on my bookshelves.
… (meer)
 
Gemarkeerd
Myridia | 14 andere besprekingen | Jan 19, 2024 |
"Maybe you don't even put it into words, but we both know that you're thinking about an archetypical soul. You believe in an invisible ghost."

But do we really have souls? Or are we just endlessly programmable creatures whose code can be cracked even if the entirety of our minds have not been mapped yet? Psychological studies might point to the latter, and so does The Electric State - because even though the human brain and its composition are still hardly understood in the 90s, Sentre's neurocasters provide enough access to the psyche for a hive mind to form through thousands of smaller connected ones. It's terrifying and yet somewhat unsurprising that this might be the culmination of all our advances, which has been called many names before and done many different ways: mob mentality, folie ? plusieurs, mass hysteria, and even 'sheeple.'

After reading this a second time, with the actual hardcover edition before me, and with Tales From the Loop and Things From the Flood under my belt, I gained a new love for this story - and, as usual, can't say enough times how brilliant it is. Darkly beautiful imagery is juxtaposed with a young woman's memory of her own imperfect, depressing but still human and sometimes nostalgic past, to which she can never return. An unknown narrator (who I highly suspect is Michelle's mother in a nonhuman form) also makes her presence known with memories of the drone war and how the hive mind arose. And we make a return once again to the towering architecture and robotic creatures that make Stalenhag's art so distinctive.

Unpacking this digital apocalypse uncovers so many layers for me:
(1) Virtual reality as an escape from everyday life - Reminds me of the consistency principle from Robert Cialdini's Influence, of which one branch states that people are often wired to keep going on autopilot rather than face difficult problem-solving situations; as a result, they are automatically pushed towards poor life choices. It's a growing epidemic in the digital age, with people taking more and more to virtual/fictional settings as a safe haven, stunting their intellectual growth to satisfy momentary impulses. And we rarely stop and think about the fact that pretty much every aspect of our lives is already directed in some way by a few big companies. In the same way that so many people are marketed unhealthy food and recreational practices (alcohol, cigarettes, etc.) without ever being fully conscious that this is what's killing them - the Sentre consumers are so hooked on their neurocasters that they never even realize they're drowning, or being eaten alive. Thus Stalenhag's dark vision of so-called advancements taking over our lives reads much like a well-timed warning.


(2) "The Intercerebral Divinity" / "oily god" - I found it interesting that such an alien creature was compared to a god, in the same vein as the ultimate supercomputer in Fredric Brown's "Answer". To me, this all goes back to the fact that since the beginning of time, humans have always been searching for that something more to believe in - whether it's a single god or many, or unnamed invisible forces directing our every move, like the red thread of fate. Because life is harsh and either has so many or so few choices as to make us feel powerless, as a species we look for solace in a higher being to guide our actions and distinguish right and wrong. But what if such a being truly and irreversibly appeared before us? What would it look like, what would it do, and would we ever be free or would we be slaves to its higher authority/intelligence? While it seems that Stalenhag's hive mind was an accidental byproduct of many people connected to the same network, this one passage says a lot about the entire dynamic:
"And in its wake, the citizens of Point Linden, hundreds of people linked together, their neurocasters connected to the oily god in the mist, floated across the ground in front of the car, and they looked almost happy."

Perhaps, despite never consciously asking for it, these people are happy because they finally have something to follow, because driving change as leaders and revolutionaries is hard, because life is so much more simple when judge, jury and executioner are all provided for you. And that's a scary thought, but history provides the proof.

(3) Actions of the hive mind / the air force pilots as "termites" - This line really struck me, as it called to mind the uncanny similarities between eusocial insect behavior and that of the interconnected neurocaster users. I have to wonder how much direct inspiration Stalenhag drew from nature, as these are some of the common elements:

(i) A "queen" around whom all the activities of the hive/colony are centered - the role played by the Intercerebral Divinity.
(ii) Drones (often male) whose purpose is to reproduce, and can sometimes break off from the main group to start their own colonies - the various hulking cobbled-together robots who started roaming the land after the hive mind arose. And, either coincidentally or not, they are also called drones.
(iii) Workers who build and maintain colony structures, and are also infertile - calling to mind the air force pilots with their stillborns, who built the giant robotic creature that allowed the Intercerebral Divinity to take physical form.
(iv) Satellite nests - several eusocial insect species build interconnected nests, which remind me of the way enormous neurograph towers stretch across cities and are constantly being expanded by cable-roller robots.
(v) Another name for these insect societies is "superorganisms" because they operate as a coherently functioning whole.



All in all, this is a grotesquely beautiful work that is sure to present new shades of meaning every time I come back to it. Its genius lies in its ambiguity, forcing us to think instead of falling into the same trap as the followers of the hive mind.

Some quotes worth remembering:


"The drone technology was praised because it spared us meaningless loss of life. The collateral damage was of two kinds: the civilians unfortunate enough to be caught in the crossfire, and the children of the federal pilots, who, as a concession to the godheads of defense technology, were all stillborn."

"May is the time of dust. Gusts of wind rise and ebb through the haze, carrying huge sheets of dun-colored dust that seethe and rustle across the landscape. They slither across the ground, hissing among the creosote bushes and on until piling up in billowing dunes and waves that wander unseen and grow in the constant static."

"Lighthouse keepers were once warned they shouldn't listen to the sea for too long; likewise, you could hear voices in the static and lose your mind."

"It was as if there were a code in there - a code that could, as soon as your mind detected it, irrevocably conjure demons from the depths."

"Do you know how the brain works? Do you have any idea of what we know about how the brain and consciousness work? Us humans, I mean. And I'm not talking about some new-age hocus-pocus, I'm talking about the sum of the knowledge compiled by disciplined scientists over three hundred years through arduous experiments and skeptical vetting of theories. I'm talking about the insights you gain by actually poking around inside people's heads, studying human behavior, and conducting experiments to figure out the truth, and separating that from all the bullshit about the brain and consciousness that has no basis in reality whatsoever. I'm talking about the understanding of the brain that has resulted in things like neuronic warfare, the neurographic network, and Sentre Stimulus TLEs. How much do you really know about that?"

"I suppose you still have the typical twentieth-century view of the whole thing. The self is situated in the brain somehow, like a small pilot in a cockpit behind your eyes. You believe that it is a mix of memories and emotions and things that make you cry, and all that is probably also inside your brain, because it would be strange if that were inside your heart, which you've been taught is a muscle. But at the same time you're having trouble reconciling with the fact that all that is you, all your thoughts and experiences and knowledge and taste and opinions, should exist inside your cranium. So you tend not to dwell on such questions, thinking 'There's probably more to it' and being satisfied with a fuzzy image of gaseous, transparent Something floating around in an undefined void."

"Maybe you don't even put it into words, but we both know that you're thinking about an archetypical soul. You believe in an invisible ghost."

"When we fell asleep, the car was engulfed by howling darkness. It rocked in the wind, and I dreamed I slept inside the belly of a giant."

"The car moved through the pitch-black desert night like a submarine in a deep-sea trench."

"I looked around. We were all alone.
'Where are your mom and dad?'
'Everywhere,' the boy replied."

"Afterward, I was curled up on the ground and saw the pink chunks spread across the flagstones around me, and before Fort Hull's alarm system started blaring I had the time to think: That's it, right there! The recipe for bechamel sauce. But even if I did my utmost to scoop up the pieces and put them back in the pit that used to be Max's skull, his recipe would still be lost. Max's lasagna existed in the intricate way those pink chunks had been assembled, just like love and hate and anxiety and creativity and art and law and order. Everything that makes us humans something more than elongated chimpanzees. There it was, spilled across the flagstones, and no technology known to man could ever put it back together. It was incredible."

"That was my materialistic revelation. What I'm trying to say is that what we call lasagna is simply a phenomenon that arises somewhere between the physical parts of the brain and in the way they're put together, and anyone claiming lasagna is something more has underestimated how complicated the brain is and in how many ways its parts can be assembled. Or they have overestimated the phenomenon of lasagna."

"The view outside the window made me uneasy. After three weeks in the Blackwelt badlands, where visibility never went beyond a few hundred yards, we were suddenly distinct in the great void, the car crawling like a black bug across a vast sheet of white paper."

"Hey, girl, I said, and the horse pricked up its ears and turned its head toward me, and where her eyes should have been there were only two dark pits."

"On the side of the building there was a Sentre ad, and I assumed the whole installation must have been theirs. I guess there must have been millions of minds bouncing around inside that thing, and the power required to please them melted the snow."

"Someone should really heave those installations from their foundations and let them roll down the mountains into the suburbs, where they could crush whatever was left of all the gardens, houses, and responsible mothers and fathers and their SUVs and finally lay themselves to rest in the abandoned city centers as memorials to humankind."

"In the beginning, God created the neuron, and when electricity flowed through the three-dimensional nerve cell matrix in the brain, there was consciousness."

"There was something going on with her mouth. It moved like the mouth of someone dreaming, and it didn't stop moving until later, when Ted took the neurocaster off and she finally died."

"Once upon a time, these kinds of ships had been the pride of the federal army... Now, here they were, plucked out of the sky, hollowed out and chewed up by the sea, and finally back in service as cliffs for birds to roost on. Behold the Amphion, the pride of the air force: ten million tons of rust and bird shit."

"I have to say: they were fantastic. Something inside me wanted to stop the car and get out, to walk up to them and touch them and closely examine every single one of these strange growths. In another reality I would have loved this. I would have calmly walked these streets, fascinated - certainly with a degree of disgust, but rapturous, pleasant disgust. In the real world, everything was backward now. We were the fascinating growth, the insane - the only sick souls in a healthy world. There was no safe everyday life behind us, no normal zone to return to, and the only way out was forward."


… (meer)
 
Gemarkeerd
Myridia | 16 andere besprekingen | Jan 19, 2024 |

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Statistieken

Werken
14
Leden
1,055
Populariteit
#24,420
Waardering
½ 4.3
Besprekingen
51
ISBNs
51
Talen
11
Favoriet
3

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