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Red Jacket: A Novel with a Superhero

In books, writing on 06/23/2011 at 11:46

Red Jacket: A Novel with a Superhero by Michael Canfield bookcover

One day you discover your gift, find yourself better than the common strain of humanity—not in some moral way, not in some fair way, or just way, and not because you earned it. Simply better equipped in one, maybe two, measurable ways. You’re smarter. You’re stronger. Or more impervious to injury. Or you can leap, or fly, or talk to birds, or breathe underwater, or run faster than sound. You wonder, you marvel, you exalt. Then, in time, you learn it doesn’t mean much. It doesn’t mean what you thought it meant, anyway. You never asked for it, it came despite your own little desires for life, your small ambitions. Those things belong to yesterday, when you thought you knew yourself. When you thought of yourself as one thing and the ability as something separate.

That stage can go on for years. Some never get passed it, but most do. You are the ability and the ability is you. You have to stop hiding then, stop seeking a cure, because to cure yourself of your power means curing yourself of yourself. You did not ask for the power, but you did not ask to be you either. No one does. The powerless don’t ask for powerlessness, nor do they deserve it—any more than we powered deserve our powers.

So you start to help. Sometimes you mess it up; some superheroes spend their whole careers, long or short, as screw-ups. Those who aren’t that bad, the marginally helpful, the tolerably heroic like me, stick around awhile.
You don’t walk away from what you can do, not in this world. Everyone has a part to play and that’s the story.

New York in the early 80′s. Tough place for a struggling young African-American
superhero like RJ (kinda strong, sorta hard to kill) to fight crime, make the
rent, and hold on to his love life. Tough enough, that is, even before the
city’s mightiest champions enter a trans-dimensional rift, answering a
call-to-arms against alien invaders. Now it’s up to Red Jacket and a handful of
other “rear guardians” to hold the world’s greatest metropolis together.

Or die trying.

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Bad People eBook: Available in the Kindle Store

In books, Evan Cobb on 12/10/2011 at 01:34

Amazon.com: Bad People

Product Description

After a home invasion ends with her husband’s murder, Connie imagines the worse that can happen—already has.

Besides, with a teenage son to raise alone, and an investment business to run, she can’t afford to feel sorry for herself—nor will she.

Connie knows how to survive. She always survives. She’s strong. Besides, she can lean on her best friend and business partner for support. She’s even got a new man in her life. Welcome to the new normal.

Then Connie discovers that her husband kept some dark secrets. Nor is everyone in her new world who he pretends to be. Connie must question everything she knows.

Everything except this: murder was just the beginning.
***

Evan Cobb, author of Perfect Likeness, Bad People, Exhibit A, and other crime and suspense novels, is the alter-ego of Michael Canfield. Under his own name he writes about monsters, superheroes, couples, babies, astronauts, paranoids, obsessives, and other people. He has published mystery, fantasy, science fiction, horror and just-plain-odd stories on fiction sites including StrangeHorizons, Spinetingler, EscapePod, Daily Science Fiction, in dead-tree magazines including Realms of Fantasy, Talebones, and Black Gate, and other places. “Super-Villains” was also republished in the prestigious Fantasy: The Year’s Best series, edited by Rich Horton (Prime Books). He divides his time between Seattle and Los Angeles, with frequent side-trips to Vegas.

#AmericanHorrorStory The biggest, most beautiful, disaster of the season.

In Television on 10/29/2011 at 16:39

(Note: I haven’t seen this week’s episode, so this praise is based on the first three episodes. But the Onion AV club his been slowing raising their episode ratings with each weekly review. Which means they are coming around to this, which also possibly means the death of a good thing.)

This team created Nip/Tuck, which got more and more insane each season. It just got too ridiculous to watch by the end. But since American Horror Story is starting out so confused/absurd/contradictory/stupid/derivative/histrionic I think it has to a real change to go down as one of the nuttiest show in history. It’s very bad on a structural level too: character is inconsistent, exposition is inept (that’s very common in TV, though) and plotting is laughable — except for when it’s nonexistent. Its main protagonist is unlikeable. And I don’t mean unsympathetic in some Tony-Soprano-Robbie-Coltrane-in-Cracker-Bryan-Cranston way. I mean awful. He’s a weaselly, pathetic coward. A Hey-I’m-you’re-Dad-but-I-need-your-approval-more-than-you-need-parenting-so-I’m-not-going-to-narc-on-you-for-smoking kind of father. His practice is doing poorly, possibly because he is the worse therapist in

L.A.  In the first episode we see him standing in front of window naked, masturbating and crying.  He’s sort of gone downhill as a mass of jelly in human form from there. A great challenge for the generally appealing actor, Dylan Mcdermott.

Handsome McDermott portrays frequently-naked, bat-wielding-weasel Ben

Jessica Lange is excellent in her role, seemingly embracing whole-heartedly the southern-gothic-drag-queen nature of her role. Connie Britton, the hot mom from Friday Night Lights, plays the hot mom here. She’s brave and smart. However, the necessities of a weekly narrative format prevent her from doing anything sensible over the next five seasons, so as compensation (and skilled compensation it is) she wears the anxiety of that tension on her face in practically every scene. The sole misfire as a character (not the actor’s fault) is the daughter — who is identical to the morose, snotty, unhappy adolescent daughter on every other show. It would be hard to send this character over the top, because every show pretty much does that already. Maybe they should do an about face on this and rip off another archetype entirely: Rory.

It’s the fiction conceit of Garth Marenghi’s Darkplace with better production values, done for reals, with other people’s money. I have no idea whether the creators are having a laugh, or are a joke. Possibly, as with their other masterpiece, the first season of Glee,  both. I like to think both. I don’t see any value in thinking otherwise, except the easy pleasure of feeling superior without effort through ironical viewings, which I am choosing to stay away from.  American Horror Story is as if someone watched every big mainstream horror movie since The Shining while having the flu, puked up all over Twin Peaks and Mulholland Drive, looked upon this result and saying, “oh, we are do doing this.” I love it.

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