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rudjedet · 4 years

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According to Wikipedia, the Egyptian language had a word for a third gender or sex, often translated as "eunuch" but perhaps referring more often to nonbinary or intersex people. Do you know more about gender variance in pharaonic Egypt?

Full disclosure before I answer this: gender studies with regards to ancient Egypt are not my specialty, and I’m unlikely to do all the nuances proper justice.

First, about the word sxt.y (plural: sxt.yw), which is the word you’re referring to that allegedly refers to a third gender or sex but which is translated as “eunuch”. It is not conclusive, per the knowledge we have now, that this is a separate gender/sex category. It’s mostly translated as “eunuch” because it comes close to a word for castrate, sxt. But that translation in itself is debatable.

@thatlittleegyptologist said the following about the word sx.ty in this ask:

Sekhti is the word that has a possible translation of ‘eunuch’ but it’s absolutely far from certain. We only say ‘eunuch(?)’ because it has a similar writing to ‘sxt’ ‘castrated’, of which there is only one attestation meaning it’s a hapax legomenon (only existence of the word). There are several other verbs written as sxt including: to run, to turn back, to destroy, to grasp, to weave, and a bird trap.

There are only 4 attestations of the word in the Egyptian corpus. Three refer to it as ‘sage’ or ‘sorcerer’ and one refers to it as ‘castration(?)’ meaning it has an uncertain translation. The text that does this is the hapax legomenon one I mentioned previously.

It has no depictions in art, and doesn’t exist as a term until the Ptolemaic and Roman periods, as Eunuchs themselves were not a thing in Ancient Egypt until this period. Therefore we cannot say that this is a separate ‘gender’ in Ancient Egypt, because before the Ptolemies this concept of sxti doesn’t exist. The Ancient Egyptians themselves did not have them so we cannot place them within their gender roles.

However, if you want to read more about eunuchs in Ptolemaic and Roman times I would suggest looking at Greek and Roman Eunuchs and their function in society, as they will tell you far more about how they were seen in gender terms than looking at anything from Ancient Egypt.

As far as gender variance goes, this is tricky because the ancient Egyptian gender division is different from ours, and also subject to change throughout the millennia that span Egyptian dynastic history. Not only that, it’s nigh impossible to transpose Western modern gender terms (such as nonbinary) onto an ancient non-Western culture because there is a disconnect between how they saw the world and the way we do.

But it wasn’t as simple as “Egyptians only knew the male and female sex/gender” either. At least in the realm of the divine, something akin to intersexuality may’ve been known. Sometimes Nut, a goddess, is portrayed with a phallus to indicate power; or Neith is said to be part man, part woman. But at the moment we do not have conclusive evidence (i.e. textual or pictorial) to show that there were mortal people who considered themselves outside the known Egyptian gender binary.

This might be because the Egyptian societal ideals were very strict (and we do know that not everyone held as rigidly to the ideals of society and religion), and they were therefore never mentioned in text or on reliefs because it was simply not done. But it might also be because there weren’t any people who (had the tools to) consider themselves outside of that gender binary. Without unequivocal evidence, it will always be some degree of inconclusive.

I will probably regret bringing up Hatshepsut again, but I’d be remiss if I didn’t use her example to explain why exactly it is so difficult to transpose our modern definition of what constitutes evidence of “this individual is transgender/nonbinary” onto the Egyptian record.In our modern society, the use of pronouns is a fair indication of whether someone is cis or trans. In ancient Egypt, since the Egyptian languages itself are gendered and thus sometimes, the use of masculine or feminine markers specifically was a matter of grammar, not so much.

The people who know only (the bare essentials) about Hatshepsut will say that she was transgender, or at least nonbinary, because she used “male pronouns” to refer to herself. However, she did also use female pronouns and markers, and almost all other female kings that we know about did the exact same thing. Sobekneferu and Taweret also referred to themselves with a mix of male and female markers and epithets. And because we know that certain Egyptian words (such as “king”) only take male markers no matter the sex of the person using it, it’s far more likely that we’re dealing with a grammar issue rather than three genderqueer queens.

However, that doesn’t mean none of the three could have been genderqueer, we just don’t have the tools to definitively say they were. The best indication of gender we have, in modern and ancient times alike, is the individual’s own words. In case of Hatshepsut, Sobekneferu, and Taweret, we know that they referred to themselves with feminine markers wherever and whenever they could. That’s something you absolutely can’t ignore when you try to argue the gender-identification of any of these women (and I use “women” here as the term to refer to the ancient Egyptian gender identity. I have never used nor will I ever use the term “cis” to describe any of them. They were women. Not cisgendered women, since cis, too, is a modern gender identity and thus equally difficult to use when describing an Egyptian individual).

I wouldn’t argue that the Egyptians didn’t have gender variance beyond the man/woman binary that we see in e.g. art and literature, but it is hard to pinpoint the exact nature of the variance, if any, considering they didn’t think about these things the way we do now, as well as their long history.

Deborah Sweeney, who we’ve cited many times before, wrote a really excellent paper on sex and gender in ancient Egypt. She talks about these matters with more nuance than I can, so I absolutely recommend reading the paper, which is only 16 pages long. And if you’re interested in certain topics she covers, check out her references/bibliography. But for most laypeople, Sweeney’s article will cover the majority of Egyptian sex & gender in enough detail.

Here are some highlights from the article in case people want a quick laydown:

The Egyptians considered the world a place of dualities. The two halves of any given concept weren’t divided eternally however; instead, they reconciled them. The best example is the king incorporating both aspects of Horus and Seth into his rule, even if Seth was chaotic and too raucous to be of any use on his own. This seems to apply to their views of gender as well.

In Egyptian art, representation of gender is very strict, e.g. men are portrayed with darker skin than women and women only take half a step forward or even stand with both feet together, and the art almost never deviates from these conventions. In real life, this division didn’t always seem to be as strict. Take for example New Kingdom female entrepeneurs; women who either made a name for themselves or took over their husband’s trade after his incapacitation or death.

“Masculinity” as a concept in ancient Egypt differed even between social groups. A scribe would have had to meet other standards of masculinity than a soldier or a farmer would. There also seems to be a divide between elite masculinity and masculinity for the lower social classes. Still masculinity mightn’t have been expressed the same way by everyone, even within the same social grouping.

Women were in the text corpus often juxtaposed against men, i.e. it was their relation with the men in their lives that was highlighted, and very little is known about interpersonal relationships between women. We obviously know more about royal women, but their experiences aren’t at all indicative of general female experience in ancient Egypt.

The Egyptians didn’t categorize people based on sexual preference (i.e. “this is a homosexual scribe”, “that market lady is bisexual”). While same-sex relationships weren’t the social norm and were usually depicted as an abberation and/or an insult, there’s strong evidence in favour of same-sex couples/relationships in real life.

For any further in-depth questions, I’d refer to @thewanderingarchaeologist, whose PHD research is on this very topic.

Please consider donating to my ko-fi if you enjoyed this rather incomplete explanation!

#Egyptology #gender identity #ancient egypt #anon asks

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kevinscottgardens · 3 years

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26 October - 13 November 2020

These past few weeks have been an emotional roller-coaster. Back in September several friends, within 48 hours of each other, informed me about an amazing opportunity in the south of France. I was so touched that people were looking out for me, knowing I’ve been aching to move to somewhere warmer, more Mediterranean. I hesitated for a week because the job announcement on a garden designer’s Facebook page stated French was important. I’ve studied French for a long time and I still have a long way to go to fluency. Again, later in the week, another friend from Kew mentioned it and knew the garden personally.

So I took the plunge and sent my CV, in French, to the garden designers. They liked it well enough to pass it to the client. A week later I had my first phone interview and it went well. Now I was super excited and could hardly sleep. On paper this job sounds really good. I checked out some You Tube videos on the garden designer, their preferred maintenance contractor and the nursery they use. I only became more interested and excited.

Plant ident 30 October

Lamiaceae Salvia africana-lutea syn. of Salvia aurea

Lamiaceae Salvia canariensis

Lamiaceae Salvia confertiflora

Lamiaceae Salvia elegans ‘Honey Melon’

Lamiaceae Salvia greggii x serpyllifolia

Lamiaceae Salvia greggii ‘Stormy Pink’

Lamiaceae Salvia involucrata

Lamiaceae Salvia microphylla var. neurepia ‘Oxford’

Lamiaceae Salvia ‘Nel’

Lamiaceae Salvia ‘Phyllis Fancy’

Plant of the week

Lamiaceae Salvia confertiflora Pohl

common name(s) - Sabra spike sage synonym(s) - Salvia confertiflora var. angustifolia J.A.Schmidt; Salvia confertiflora var. brachyantha Pohl; Salvia rufa Epling conservation rating - none native to - Brazil location - salvia walk, accession 2019-0398 leaves - deciduous, pungently-scented, ovate flowers - slender spikes of small scarlet flowers, covered with velvety red-brown hairs, with the stems of the inflorescence and the calyx also having a red-brown colour, in late summer and autumn habit - a tender bushy perennial to 1.2m tall, becoming woody at the base habitat - tropical, summer rains, dry winters pests - slugs, snails, capsid bug, rosemary beetle, leafhoppers disease - generally disease-free hardiness - to 1ºC (H2) soil - loam, chalk or sand, well-drained sun - full sun, sheltered propagation - seed in containers in a cold frame in spring; softwood cuttings in spring or early summer or semi-ripe cuttings in late summer or autumn with bottom heat pruning - cut down if hit by frost nomenclature - Lamiaceae - lamium - gullet, the name in Pliny refers to the gaping mouth of the corolla; Salvia - healer, the old Latin name for sage with medicinal properties; confertiflora - with dense or crowded flowers NB - first discovered in 1833 by the Austrian naturalist, Johann Baptist Emanuel Pohl in the Serra dos Órgãos, state of Rio de Janeiro. Pohl sent specimens back to botanical gardens of Europe where it was popular not only for its dramatic colour, but also for its prolific flowering well up to the time of frost

References, bibliography:

Gledhill, David, (2008) “The Names of Plants”, fourth edition; Cambridge University Press; ISBN: 978-0-52168-553-5

IUCN [online] http://www.iucnredlist.org/search [18 Nov 20]

Plant List, The [online] http://www.theplantlist.org/tpl1.1/record/kew-182420 [18 Nov 20]

Plants of the World [online] http://plantsoftheworldonline.org/taxon/urn:lsid:ipni.org:names:456011-1 [18 Nov 20]

Royal Horticultural Society [online] https://www.rhs.org.uk/Plants/16324/i-Salvia-confertiflora-i/Details [18 Nov 20]

Wikipedia [online] https://en.wikipedia.org/wiki/Salvia_confertiflora [18 Nov 20]

About ten days later I received an email inviting me to meet with his wife, here in London, for a second interview. That took place one evening after work. Again, the conversation went very well and it turns out we have a friend in common - who would have imagined!

The following week, after posting some tea to my sister in LA, I received the call offering me the position. Again, no sleep that night!

While all of this was happening, my tinnitus has been acting up too. I have also experienced a few bouts of vertigo, which is quite rare for me.

So that Friday, two weeks ago, I tendered my resignation. I asked to take my remaining annual leave as part of my notice period which meant I only had two weeks left in the garden. This will give me next week to sort my packing and I’ll fly to Nice next Saturday, 21 November. This will give me one week to work with the person who is leaving. I’ve never had such a fantastic opportunity for a week-long hand-over.

Plant ident 6 November this week was a review of the past four weeks, those were my favourites at Kew because it helped me retain names that would otherwise have just never stuck.

Plant of the week

Cucurbitaceae Momordica charantia L.

common name(s) - bitter melon; bitter apple; bitter gourd; bitter squash; balsam-pear synonym(s) - Cucumis argyi H.Lév.; Cucumis intermedius M.Roem.; Momordica charantia subsp. abbreviata (Ser.) Greb.; Momordica charantia f. abbreviata (Ser.) W.J.de Wilde & Duyfjes; Momordica charantia var. abbreviata Ser.; Momordica charantia var. longirostrata Cogn.; Momordica charantia var. muricata (Willd.) Chakrav.; Momordica chinensis Spreng.; Momordica elegans Salisb.; Momordica indica L.; Momordica muricata Willd.; Momordica sinensis Spreng.; Momordica thollonii Cogn.; Sicyos fauriei H. Lév. conservation rating - none native to - tropical and subtropical Old World location - tropical corridor, accession 2020-0110 leaves - simple, alternate leaves 40 to 120mm across, with three to seven deeply separated lobes flowers - separate yellow male and female flowers; in the Northern Hemisphere, flowering occurs during June to July and fruiting during September to November habit - very vigorous, tendril-bearing vine to 5m habitat - hot humid areas of the tropics and subtropics; savannah and bush; common in coastal thickets, along creeks and streams, and in lowland forest margins pests - aphids disease - downy mildew, powdery mildew, Fusarium wilt, target leaf spot, root-knot hardiness - to 5ºC (H1c) soil - rich in organic matter with 2m to 2.5m of rainfall annually sun - full sun propagation - seed - sow in situ; seedlings emerge five to seven days after sowing, but fresh seed often shows dormancy which is very hard to break and can last for some months pruning - none nomenclature - Cucurbitaceae - cucurbita - Latin name for the bottle-gourd; Momordica - bitten, the jagged seeds of balsam pear appear to have been nibbled; charantia - graceful, the pendent fruits NB - is a laxative, diuretic herb that soothes irritated tissue, lowers fevers, kills parasites and cleanses toxins from the system; probably also a uterine stimulant; the fruit is most often eaten green, or as it is beginning to turn yellow. At this stage, the fruit's flesh is crunchy and watery in texture, similar to cucumber, chayote or green bell pepper, but bitter. The skin is tender and edible.

References, bibliography:

Gledhill, David, (2008) “The Names of Plants”, fourth edition; Cambridge University Press; ISBN: 978-0-52168-553-5

IUCN [online] http://www.iucnredlist.org/search [20 Nov 20]

Plant List, The [online] http://www.theplantlist.org/tpl1.1/record/kew-2372864 [20 Nov 20]

Plants of the World [online] http://plantsoftheworldonline.org/taxon/urn:lsid:ipni.org:names:293413-1 [20 Nov 20]

Useful Tropical Plants [online] http://tropical.theferns.info/viewtropical.php?id=Momordica+charantia [20 Nov 20]

Wikipedia [online] https://en.wikipedia.org/wiki/Momordica_charantia [20 Nov 20]

I worked the weekend of 7/8 November, my last weekend duty.

I’ve been taking private French lessons twice a week for the past three weeks. François has been taking an hour out every weekend to help me with my French. I’m hoping once I start living in the language it will come together. Lucien organised my French mobile number, so it will be ready to use when I land.

During these few weeks in the garden leaves have been falling and falling and falling. Al spends most mornings blowing leaves into big piles. He’s also agreed to stay on through the end of January.

Plant ident 13 November ferns

Aspleniaceae Asplenium trichomanes

Aspleniaceae Asplenium scolopendrium

Blechnaceae Blechnum cordatum

Dennstaedtiaceae Pteridium aquilinum

Dicksoniaceae Balantium antarcticum syn. Dicksonia antarctica

Dryopteridaceae Polystichum setiferum

Polypodiaceae Adiantum venustum

Polypodiaceae Microsorum diversifolium syn. Phymatosorus pustulatus subsp. pustulatus

Polypodiaceae Polypodium interjectum

Pteridaceae Coniogramme emeiensis

I gave Olivia a thorough hand-over of my beloved tropical glasshouse. I’m sure it is in good hands, and under the always watchful eye of Jess.

Jess and I gave the tropical corridor it’s winter pruning on Thursday.

Nell has allowed me to work on several projects on the database I’ve been trying to complete. I added to my predecessor’s manual for the plant records manager. It is quite comprehensive. I hope my replacement finds it helpful and continues to update it as the roll changes.

Wednesday, when Jill was in the garden, I asked her to create a herbarium specimen of the Romneya coulteri for me, also being a California native.

Friday, 13 November, saying goodbye... I made my way to Victoria in the morning, before work, to purchase one last social from Ole & Steen. After work we indulged in cheese, beers and Nell gave a very nice speech.

Mary Ellen painted this for me, and the plant and secateurs were gifts from colleagues.

The evening concluded with a stint in the jacuzzi - so very relaxing.

Plant of the week - a foreshadow of the next garden in which I shall be working

Cistaceae Cistus creticus L.

common name(s) - Cretan rockrose synonym(s) - Cistus complicatus Spruner ex Nyman; C. creticus f. albus (O.E.Warb.) Demoly; C. creticus f. flavus Demoly; C. creticus subsp. trabutii (Maire) Dobignard; C. cupanianus C.Presl; C. dunalianus Sweet; C. garganicus Ten.; C. × incanus subsp. creticus (L.) Heywood; C. incanus subsp. creticus (L.) Heyw.; C. ladaniferus Stokes; C. polymorphus Willk.; C. rotundifolius Sweet; C. tomentosus Lam. [Illegitimate]; C. undulatus Moench; C. villosus L.; C. villosus f. albus O.E.Warb.; C. villosus var. creticus (L.) Boiss.; C. villosus var. rotundifolius (Sweet) Grosser; C. villosus var. trabutii Maire; C. villosus var. undulatus Grosser; C. vulgaris Spach; Ladanium officinarum Spach; Ladanum verum Raf. infraspecific taxa - Cistus creticus subsp. corsicus (Loisel.) Greuter & Burdet; Cistus creticus subsp. eriocephalus (Viv.) Greuter & Burdet conservation rating - none native to - central and eastern European Mediterranean to Jordan location - history beds, accession 1996-0376 leaves - shaggily hairy stems, leaves are slightly scented flowers - variable in shade from deep purple-pink to rose pink, to 6cm across, with a yellow centre habit - very variable, small, bushy, evergreen shrub, to perhaps 1.5m tall; highly branched shrub that measures between 30 to 140 cm with a more or less creeping stem but without actually taking root in the ground, with little strength to stay upright habitat - distributed in calcareous romerales that inhabit soils with sandy characteristics; can be found growing near oak forests on the coast pests - generally pest-free disease - may suffer from nutrient deficiency when grown on very alkaline soils hardiness - to -10ºC (H4) soil -well-drained sun - full sun, sheltered propagation - seed, sow as soon as ripe and keep in cold frame or sow in spring; softwood cuttings in summer pruning - does not respond well to hard renovation pruning nomenclature - Cistaceae - Cistus - capsule, rock roses are conspicuous in fruit; creticus - from Crete, Cretan NB - traditional herbal medicine, the leaves of Cistus have been used in the treatment of skin and inflammatory diseases (Hudson, 2009). Recent scientific research has confirmed the validity of this traditional herbal knowledge through studies that have demonstrated that Cistus leaf extractives have powerful antibacterial, antifungal, antiviral, and biofilm-breaking qualities (Rebensburg et al, 2015).

References, bibliography:

Gledhill, David, (2008) “The Names of Plants”, fourth edition; Cambridge University Press; ISBN: 978-0-52168-553-5

IUCN [online] http://www.iucnredlist.org/search [19 Nov 20]

Plant List, The [online] http://www.theplantlist.org/tpl1.1/record/kew-2723343 [19 Nov 20]

Plants of the World [online] http://plantsoftheworldonline.org/taxon/urn:lsid:ipni.org:names:168230-1 [19 Nov 20]

ProHealth [online] https://www.prohealth.com/library/cistus-a-natural-antibiotic-antiviral-and-biofilm-buster-6292 [19 Nov 20]

Royal Horticultural Society [online] https://www.rhs.org.uk/Plants/22292/Cistus-creticus/Details [19 Nov 20]

Warbleton Council [online] https://warbletoncouncil.org/cistus-creticus-13547 [19 Nov 20]

SARS-CoVid-2 update (active cases only) 2 November 2020

SARS-CoVid-2 update (active cases only) 8 November 2020

SARS-CoVid-2 update (active cases only) 16 November 2020

#ferns #Salvia confertiflora #Romneya coulteri #Cistus creticus #Momordica charantia #Mary Ellen Taylor

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thegeekcurmudgeon · 7 years

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The Steam-Driven Time Machine: My Adventures in Steampunk

As revealed in my previous post, I’m moderating the Steampunk panel at this weekend’s Comicpalooza. Newer folks may wonder why I’m moderating such a panel. (Or not, but I’m going to share this with you anyway).

Way back in 2008, I produced this little essay for Ann and Jeff VanderMeer’s bestselling, seminal anthology Steampunk. The magnificent book came out just at the beginnings of the latest Steampunk craze. After nine printings, one could argue it helped fan the flames of the movement.

Without further ado, here’s the unabridged piece.

The Steam-Driven Time Machine:

A Pop Culture Survey

Rick Klaw

When I was a child in the seventies, it seemed like the 1961 Ray Harryhausen special effects-laden The Mysterious Island played constantly on the TV. Not that I minded. Michael Craig leads a crew of Confederate P.O.W. escapees as they pilot a hot air balloon toward points unknown. Crash landing on an apparently deserted island, the castaways encounter giant animals: a crab, a flightless bird, bees and an cephalopod, all presented in Harryhausen’s dynamic stop motion animation. The group discovers the presumed dead Captain Nemo, who had mutated the animals as part of an experiment. Throw in the pirates that attack the island and you have the recipe for a near-perfect movie. By nine years old, after many repeated viewings the film entered my personal zeitgeist, informing my later tastes and many of my creative decisions.

Mysterious Island was my first exposure to steampunk, long before K. W. Jeter coined the word in the late 1980s.

Personally, I think Victorian fantasies are going to be the next big thing, as long as we can come up with a fitting collective term for [Tim] Powers, [James] Blaylock and myself. Something based on the appropriate technology of the era; like “steampunks,” perhaps… (Locus, #315 April 1987)

Featuring interviews with Jeter and Blaylock plus a cover by Tim Powers, the Winter, 1988 issue of Nova Express introduced me to the term “steampunk.” By that time Powers and Blaylock were both part of my reading repertoire. Jeter joined a few years later.

Among many of the advantages of living in Austin as a young science fiction fan in the late eighties and early nineties was the strong and fairly well organized creative community. The local science fiction literary convention, Armadillocon birthed though probably as a surrogate the Cyberpunk movement, as it was the first North American convention to feature William Gibson, Bruce Sterling, Lewis Shiner, and Pat Cadigan as guests of honor. Austinite Lawrence Person’s previously mentioned ‘zine Nova Express further encouraged science fiction critical studies with insightful interviews and reviews by professionals and fans alike.

Some twenty years later, pop culture has embraced steampunk. Publishing, film, and even the Internet embolden the term as a branding tool. Nary a week goes by without Boing Boing (www.boingboing.net), the venerable group blog, posting about some sort of steampunk inspired gadget, cartoon, or essay. A search of their archives generates almost 1500 articles. Subjects vary greatly: laptops, keyboards, watches, Transformers, planes, Car Wars, submarines, and so on. Many articles showcase functioning modern technology using steampunk methods and materials. Others present actual working machines from the 19th century. Images presenting artistic depictions of steampunk, paintings, sculptures, architecture and the like. Reinterpretations of popular shows such as Star Trek and Star Wars litter the listings. Original short films featuring steampunk tropes offer many amusing and sometimes exciting diversions.

The user-generated online encyclopedia Wikipedia (en.wikipedia.org) contains lengthy, extensive entries for both “Steampunk” and “List of steampunk works”, citing an array of sources. The English language version of the Polish site Retrostacji, Steampunkopedia (steampunk.republika.pl) offers the most comprehensive steampunk works chronological bibliography available on the web along with numerous links to steampunk-inspired videos. Sadly, the site stopped updating in February, 2007.

Using the collaborative wiki-method, ﾆther Emporium (etheremporium.pbwiki.com) claims “to provide a onestop resource and archive for all things Steampunk”. Potentially very interesting, the sparse site supplies some intriguing information and views from the nascent steampunk subculture. Another online cultural source, SteamPunk Magazine (www.steampunkmagazine.com), dedicated to “promoting steampunk as a culture, as more than a sub-category of fiction”, produces a pdf format magazine and for-sale print version under the auspices of the Creative Commons license, an agreement that allows anyone to share and distribute the work as long as it is not for commercial or financial gain. Each of the three currently produced issues contain fiction, features exploring different aspects of the subgenre, and interviews with steampunk luminaries.

Even Wired (www.wired.com), home of the techno elite, lists some 930 archived pages about the subgenre. Often sharing similar coverage with its cyberculture cousin Boing Boing, the subjects run the pop culture gamut. Oddly, the domain name steampunk.com works as the home for The Speculative Fiction Clearing House, a portal for science fiction websites. The site has only a tangential relationship with the subgenre.

Back in the late eighties, I encountered my first steampunk role playing game. Featuring Victorian space travel and steam powered devices, Space 1889 (1988) was the first primarily steampunk rpg. At the time, I immersed myself in the rpg community, envisioning myself more of a gamer and possibly role play games creator than an essay or even a fiction writer. This delusion lasted for about two years, after which I decided to devote my creative energies toward other writing and editing pursuits.

Prior to Space 1889, steampunk elements frequently cropped up in games. Most Dungeons & Dragons campaigns contained various steam-powered devices, usually projectiles or vehicles. Hero Games’ pulp era adventure game Justice, Inc (1984) featured many steampunk-type props, most notably steam-powered robots. Cthulhu By Gaslight, Victorian era rules for the Lovecraft-inspired Call of Cthulhu game, premiered in 1986. While set in the 1890s, the supplement relied less on steampunk– beyond an odd section on time travel– and more on real-world settings.

In the ensuing years, steampunk routinely appeared in rpgs. Within the popular gaming universes such as Warhammer, GURPS, and Dungeons & Dragons, steam-driven devices and Victorian era tropes became commonplace. The cross-pollination of the American Old West and anachronistic devices thrived within several games, chiefly Deadlands and the Japanese title Terra the Gunslinger.

Even LARPers got in the act. Premiering May 21, 2004 near Baltimore, MD with a three-day episode, Brassey’s Game, a steampunk live action role playing game (LARP)1, involved approximately 30 players in Victorian garb, who relied on heavy character interaction. The initial campaign ran for six weekend-long episodes. Six other stand alone Brassey’s Game episodes took place during the first campaign. Since its introduction, several other groups from various parts of the US, using modified versions of the original rules, participated in their own Brassey’s Game events.

Another element of my seventies childhood, The Wild Wild West, the first, best, and longest running steampunk television series, forged my future love of the weird western. The show related the adventures of two Secret Service agents- James West, a charming, womanizing hero, and Artemus Gordon, inventor and master of disguise– as they protected, often in secret, the United States, its interests and citizens. In four seasons from 1965-1969, the duo encountered all sorts of odd villainy including a brilliant but insane dwarf, recurring arch-villain Dr. Miguelito Quixote Loveless, and bizarre weaponry such as cue stick guns and a triangular steam-powered tank with a barbed tip. Combining the best elements of traditional westerns and James Bond, The Wild Wild West spawned two late seventies TV movies with the original cast, a dreadful 1999 big screen movie, two separate comic book series (1960s Gold Key and 1991 Millennium Publications), and four novels, as well as influencing a generation of writers including Joe R. Lansdale, Norman Partridge, and Howard Waldrop.

The Adventures of Brisco County, Jr., the direct thematic descendant of The Wild Wild West, premiered on August 27, 1993, starring the cult actor Bruce Campbell of Evil Dead fame as the title character. Set in the 1890s, Brisco attempts to capture the members of the Bly Gang, the cutthroats responsible for his father’s death. The series sported an intriguing cast of characters: Lord Bowler, bounty hunter and rival, lawyer Socrates Poole, Dixie Cousins, con-woman and Brisco’s great love, and inventor/scientist Professor Wickwire, brilliantly portrayed by John Astin and supplier of Brisco’s steampunk-like gadgetry. Even with clever story lines, the show lasted for only one season.

Perhaps the most unexpected use of weird western steampunk tropes occurred in the second season of the animated Adventures of Batman & Robin. “Showdown” with a Joe R. Lansdale teleplay from a story by Kevin Altieri, Paul Dini, and Bruce W. Timm tells of the immortal Batman villain Ra’s al Ghul’s 1883 confrontation with the DC Comics gunslinger Jonah Hex. The battle centers around a plot to blow up the nearly-completed tracks of a transcontinental railroad using dirigibles loaded with cannons and other explosives.

Because starring in one Wild Wild West-inspired short lived TV series is never enough, Bruce Campbell portrayed the title character for two seasons in the disappointingly inane Jack of All Trades (2000). Jack Stiles, a secret service agent stationed by President Thomas Jefferson on the fictional French-controlled island of Palau-Palau, defends American interests while serving as the aide to a French aristocratic. Jack employs many steampunk-type weapons and gadgets. Loosely based on the classic 1919 novel, Sir Arthur Conan Doyle’s The Lost World amazingly ran for three seasons (1999-2000) with poor special effects, bad acting, poorly crafted storylines, and some minor steampunk elements. The 1982 Q.E.D., set in Edwardian England, last for only six episodes. Voyagers!, a time travel adventure series with periodic steampunk bits, managed 22 episodes over one season (1982-1983). Steampunk materials appeared in several episodes of the various Doctor Who incarnations.

Under the premise that Jules Verne actually lived the adventures that he wrote about, The Secret Adventures of Jules Verne (2000) delivered steampunk action with airships, steam powered devices, and even a steampunk cyborg! Playing upon the inherent metafictional possibilities, several episodes featured “real life” authors and personalities such as Samuel Clemens, Queen Victoria, Alexander Dumas, Cardinal Richelieu (a time travel episode), and King Louis XIII. The promising show never jelled and was canceled after one season.

The Japanese have also embraced steampunk television, albeit the animated variety. Based on the long running manga Fullmetal Alchemist, set in an alternate late- 20th century society that practices alchemy and uses primarily early 20th technology, enjoyed a 51 episode run (2003-2004) and an 2005 anime feature film. Steam Detectives (1989-1990) follows the adventures of a young detective in a reality where the only source of energy is steam power. Set on a floating world with stylized Victorian fashions, Last Exile (2003) relates the story of airship pilots Claus and Lavie and their involvement in a plot about a mysterious cargo.

Another steampunk show derived from the works of Jules Verne, Nadia: The Secret of Blue Water (1989-1991) inspired a feature film sequel (1992) and a manga series. Set in 1889, circus performer Nadia, young inventor Jean Ratlique, and the famed Captain Nemo attempt to save the world from the Atlantean known as Gargolye who is bent on restoring the former underseas empire. Translated into eight different languages, the series achieved worldwide popularity.

Based on a series of popular video games, Sakura Wars relates an alternate 1920s reality that uses steam primarily to power all sorts of modern devices. Developed into numerous video games on several platforms, a manga, a tv series, five OVA2 tie-ins, and a feature length movie, Sakura remains a uniquely Japanese cultural phenomenon.

Back in the seventies, Mysterious Island opened my eyes to new worlds as I encountered many more steampunk films. The 1930s Universal monster pictures with lighting-powered monsters, chemically induced madmen, and animal-mutating mad scientists exploited the yet undefined genre. Beneath a Victorian backdrop, Victor Frankenstein empowered his creatures in both Frankenstein (1931) and Bride of Frankenstein (1935) using the highly unlikely method of electrocution. In the latter film, Dr. Pretorius joins forces with Frankenstein, attempting to create life through alchemical means. Director James Whale recognized the inherent Victorian melodrama and the treated the films accordingly, thus creating two masterpieces.

Two of H. G. Wells’ science gone-amok novels inspired a pair of 1933 Universal movies. The Invisible Man, directed under the masterful hand of James Whale, relates the story of a man who goes mad after imbibing his own creation: an invisibility potion. Starring Charles Laughton and Bela Lugosi, The Island of Lost Souls adapted The Island of Dr. Moreau for the first time. The story of Dr. Moreau and his rebellious mutations, like that of The Invisible Man speak to the Victorian notions of science and sadism. The Island of Lost Souls has been remade poorly twice as The Island of Dr. Moreau (1977, 1996).

Fittingly, the first film recognized as steampunk was the 1902 fourteen-minute French animated short Le Voyage dans la lune (A Trip to the Moon), based on Jules Verne’s From the Earth to the Moon and H.G. Wells’ The First Men in the Moon. Wildly popular upon its release, the Georges Méliès film– one of his hundreds of fantasy films– achieved canonical status within science fiction.

Hollywood rediscovered Verne with a vengeance in the 1950s and 1960s, making numerous film adaptations including the steampunk films 20,000 Leagues Under the Sea (1954), The Fabulous World of Jules Verne (1958), Journey to the Center of the Earth (1959), Mysterious Island (1961), Master of the World (1961), Five Weeks in a Balloon (1962), and tangentially Captain Nemo and the Underwater City (1969). Wells was not far behind with most notably The Time Machine (1961). One of producer George Pal’s special effect spectaculars, The Time Machine thematically remained close to the source material especially the portrayal of the machine itself. An awful version of Wells’ book was made in 2002.

The seventies witnessed a severe drop in steampunk related films as whiz bang space science fiction became the norm. A notable exception, the entertaining Time After Time (1979) suggested that Wells invented a time machine and traveled to 1979 in pursuit of Jack the Ripper.

In 1986, Hayao Miyazaki released his groundbreaking anime Castle in the Sky (aka Laputa: Castle in the Sky). A magical tour-de-force featuring floating cities, airships, and pirates, the film follows a young girl, Sheeta, and boy, Pazu, on their quest for the mystical, missing city of Laputa. Miyazaki returned to steampunk in 2001 with his masterpiece Spirited Away, the highest grossing movie in the history of Japan. Easily the most awarded steampunk work in any medium, Spirited Away won the Academy Award for Best Animated Film, the Amsterdam Fantastic Film Festival Silver Scream Award, the Nebula Award for Best Script, the San Francisco International Film Festival Audience Award Best Narrative Feature, five Mainichi Film Concours Awards, two Awards of the Japanese Academy, four Annie Awards, and many others. Miyazaki’s eagerly anticipated follow up was the steampunk Howl’s Moving Castle (2004), based on Diana Wynne Jones’ popular young adult novel. Successful both financially and critically, Howl’s plays as a traditional European fairy tale but with steampunk elements.

Sadly with a few exceptions, Miyazaki’s works represent the abnormal in modern steampunk. While movies such as Vidocq (2001), The League of Extraordinary Gentlemen (2003), Hellboy (2004), Van Helsing (2004), Around the World in 80 Days (2004), Steamboy (2004), and The Brothers Grimm (2005) display strong stylings, they all fall short on substantive storytelling.

The third and perhaps weakest of Terry Gillum’s Trilogy of the Imagination, The Adventures of Baron Munchausen (1988) recounts the legendary tales of eponymous Baron. Littered throughout with steampunk tropes and devices, Gillum displays a magical world in this delightful, if overlong film.

The French duo Jean-Pierre Jeunet and Marc Caro created the strange, surrealist masterpiece 1995’s The City of Lost Children (La Cité des enfants perdus). Unable to dream, a mad scientist steals the dreams of children. The kidnapping of a circus strongman’s little brother leads to some bizarre and fascinating confrontations between the strongman, the children, and the scientist. Beautifully imagined within a late 19th century industrial city complex, The City of Lost Children magically envisions a dark steampunk society.

The disappointing film version of The Golden Compass, the first novel of Phillip Pullman’s extraordinary trilogy His Dark Materials, premiered in 2007 amidst a maelstrom of controversy, as various Christian groups–most notably The Catholic League– urged their members to boycott the movie citing the story’s perceived anti-God bias. The protesters had little to worry about since director/screenwriter Chris Weitz stripped the original tale of any complexity and relevant subtext, presenting a dull, lifeless movie. Even with gorgeous visual effects (particularly of the dæmons and the airships), superior acting (especially Dakota Blue Richards’ authentic portrayal of a fierce twelve year-old girl), and a $200 million budget, The Golden Compass offered yet another 21st century steampunk film failure.

Some thirty-five years after my initial discovery, steampunk still fascinates. I eagerly await to read about the new devices listed on Boing Boing. Even given the poor quality of most steampunk movies, films with airships and Victorian stylings still excite me. Clearly I am not alone as evident by the sheer amount of steampunk material continually being produced and the very existence of this anthology.

Vive la vapeur!

1a form of role-playing game where the players physically act out their characters’ actions.

2Original video adaption, a phrase coined by the Japanese for direct-to-video films.

The Steam-Driven Time Machine: My Adventures in Steampunk was originally published on The Geek Curmudgeon

#ann and jeff vandermeer #Comicpalooza #essay #steampunk

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