Eruditorum Press

Temporarily embarrassed proletarians

tenuous thematic connections

Tygers & Horses

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“The tygers of wrath are wiser than the horses of instruction” said William Blake in The Marriage of Heaven and Hell, and on lots of European walls in the 60s, and under the cover of an Eighth Doctor Adventure by Kate Orman.

I disagree.  I think you need the horses of instruction just as much as you need the tygers of wrath.  The thing about the tygers is that they chase you.  The thing about the horses is that you have to chase them.  If you’ve got a horse ahead of you and a tyger behind… well, that’s not comfortable, but it’s the better way round.  It gives you both a strong impetus and a goal.

Of course, horses can be wild and tygers can be calm.

I’ll stop there.  All analogies can be pushed to breaking point.  Even the ones invented by geniuses.…

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Green Day

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This is a slightly-tweaked version of something originally published in the January 2011 edition of Panic Moon.  Back issues of this excellent fanzine (now, sadly, on hiatus) are still available, here.

Plant monsters. That’s an old one. Where does it come from? Maybe it’s about the Venus Fly Trap, the cactus or the thorns on the stem of a rose. Maybe it’s about the faces that we see in the gnarled bark of trees; the faces that gave us generations of tales about tree folk. We see this in ‘The Seeds of Doom’, in the initial humanoid shape of the monster, in its booming threats, in its communion with Chase, in the way that the Doctor keeps calling it Keeler ironically, having chided Sarah for referring to the transformed Winlett by name.

Maybe it’s the sheer unnerving silence and mindlessness of things that nonetheless seem to have flesh and veins and skin, that nonetheless grow and move and breed.  We see this in ‘The Seeds of Doom’, with all the emphasis on skin, blood and pain… and Chase’s obsessional desire to “see what happens when the Krynoid touches human flesh”. We see this in the way the Krynoid moves, unfettered by roots. The way it seethes and crawls. The way it is tentacular, like the octopoda or squid monsters that pervade 20th century literary/cinematic/political monsterology, standing
for the threatened global reach of the powerfully, shapelessly, amorphously unknowable.

Maybe the Krynoid is an echo of the trauma of the first humans to discover that sometimes delicious-looking vegetation gives you agonizing stomach ache… or kills you… or causes terrifying hallucinations. We can see this fear demonstrated in Stevenson, mesmerised by his pod… and Winlett and Keeler so “taken over” that they literally transform into nightmare images of the insane roots that have taken their reason prisoner.

Maybe it’s guilt at tearing up and eating beautiful, living, growing things; we see this in Chase’s later ideological hatred of “animal fiends”. Maybe we can’t help see it – on some level – as exploitation, hence the Doctor’s word: “revolution”. Maybe it’s guilt at the way we wipe out plant species with our industrialised carelessness, guilt that makes us imagine them turning on us. We see this in the existence of the World Ecology Bureau, and Chase’s accusation to Dunbar that the endangered plants are ignored because of a pro-animal bias.

Maybe it’s about ancient history, about wars between peoples over cultivated land covered in crops; organised violence that had been unknown to hunter-gatherer societies for thousands of years until the development of agriculture. Maybe it’s the old and persistent nightmare of the classes of priests and administrators who started to rise once agriculture came, who hoarded the surplus grain and used it to wield power over the people. We see these fears demonstrated in ‘The Seeds of Doom’, with Scorby the violent capturer of coveted plants, with Harrison Chase (the sole proprietor and abbot of a “green cathedral”) lording it over everyone else because of his wealth, owning people “body and soul”.

Maybe it’s to do with the way vegetation encroaches upon human civilisations, almost like an invading enemy, unless carefully held in check.…

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Skulltopus 5: Fair Exchange, No Robbery

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Erato the Tythonian in ‘The Creature from the Pit’ doesn’t much resemble an octopus, but nevertheless he/it is a shapeless, amorphous creature that extends a probe which is (briefly) a bit tentacular… though this tends to be obscured by the fact that it also supposedly resembles a cock:

If this picture reminds you of your genitals,
seek immediate medical advice.

Neither seems to have been the writer’s intention.  Indeed, in the novelisation, it is specifically stated that “you couldn’t call it a tentacle”.  The probe is repeatedly described in terms of hands, fingers and fists.  As the story progresses, it becomes clear that Erato is meant to be a kind of giant, disembodied brain.

However, the probe is a long, flexible, green, non-humanoid limb… so let’s not fear to call it a quasi-tentacle, whatever Fisher says.

In any case, the Tythonian is – at least until it starts talking – reminiscent of the Weird… if only via its unstable and amorphous blobbiness.

In this post, I suggested that ‘Spearhead from Space’ erupts into tentacles at the end partly as a way of obscuring something else that is going on in the story, namely a convergence of various themes towards a potential critique of modern British capitalism as a system of hierarchy, racism, imperialism, sexism and exploitation.  (Click the link and read it if you think I’ve gone mad.)

I’m planning, in forthcoming posts, to suggest that Doctor Who in the 70s adopts the tentacular as a recurring way of simultaneously fleeing from and signifying capitalism.  There is a prelude to this: the Weirdish ab-crabs in ‘The Macra Terror‘.  There’s also a transitional story at the other end, just before the semiotic connection largely dies out in the 80s.  This transitional story is the final story of the 70s to feature the tentacular even as a suggestion.

Transitional Form

Philip Sandifer, at his TARDIS Eruditorum blog, has described ‘The Creature from the Pit’ as “a proper anti-capitalist screed”.  He describes Adrasta as “a selfish arch capitalist who is perfectly happy to thrive while everyone else suffers” and notes that Tat Wood and Lawrence Miles are wrong to write off as anachronistic the idea that Adrasta could’ve been intended as a Thatcher figure (the story was written during the election that she went on to win).  However, his argument is considerably more sophisticated than this and rests more especially on something he identifies in the script: the subversion of the (by now) standard Doctor Who ‘evil ruling class vs. rebels’ trope.  Sandifer identifies this story as coinciding with the great shift in the ‘centre ground’ of British politics that more-or-less coincided with the advent of Thatcherism.

The key thing is… the way in which both sides of an apparent political debate were in one sense indistinguishable because they both adhered to the same premise… [For example] the way in which the trade unions, Callaghan, and Thatcher all took for granted that maximizing profit was the right thing to do. The idea that they were opposing sides in many key ways serves more to cut other perspectives out of the debate entirely than it does to actually describe a fundamental philosophical difference between them.

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Skulltopus 4: Attack of the Plot-Device Monster

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The tentacle was already well established as a staple of monsterology long before Doctor Who was even a glint in Sydney Newman’s eye.  When Who selected the tentacle as its semiotic method of evading/signifying capitalism  – as I’m going to argue that it did in the 70s – it selected it from a pre-existing toolbox full of potential signifiers.  But it didn’t suddenly stumble upon the octopoidal.  It had encountered tentacles before, albeit only occasionally.

On the whole, the show’s early years are pretty thin on tentacles… but there are quasi-tentacular manifestations in ‘The Keys of Marinus’ (the Brains of Morphoton have stubby little almost-tentacles), ‘The Dalek Invasion of Earth’ (the Slyther) and ‘The Web Planet’ (the Animus).  The only proper octopus monster in this era is the Mire Beast from ‘The Chase’.  It lives underground and exists solely to provide a way for our heroes to escape from the Aridians without deliberately sentencing them all to Dalek-death.

Oh look… bar the Animus, those were all written by Terry Nation.  Hmmm…

By this point (the early 60s), the ‘novum’ of the tentacle had passed, but it had entrenched itself in the grammar of Western teratology.  In the process, it had been greatly sheared of its original strategic meaninglessness.  Even so, the Mire Beast doesn’t even try to mean anything.  It’s almost as though a plot device monster so arbitrary and irrelevant had to be an octopus because the octopus still carries the Weird connotations of meaning meaninglessness.  It means nothing, so what do we make it?  An octopus.  They mean nothing.  Perfect.

I’m simplifying.  And I’m making it sound conscious… which it almost certainly wasn’t.  But I’m kind of thinking aloud here.  Give me a break, can’t you?  These things become less conscious and more consistent the more deeply the semiotic connections bury themselves into culture.  They become like syntax.  We don’t usually use syntax consciously.

Of course, ‘meaning nothing’ and ‘having no meaning’ are not necessarily the same thing.  The symbol ‘0’ means nothing… but it doesn’t have no meaning.  Indeed, it’s meaning is nothing.  (This point is hard to get across in text… it’s one of those occasions when, to be absolutely clear, you really need to use vocal inflection.)  This may be the same binary inherent in any sign that is adopted to evade meaning.  It may be inherent in the Weird use of the tentacular.  By trying to use the meaningless to mean meaninglessness, meaning is assigned.  This is as much a dialectic as it is a paradox.  The internal contradiction drives the change from the haute Weird tentacle to the tentacle as a standard monstrous limb-type throughout Western fiction.  The tentacle initially emerges as the perfect way for the Weird to express what it feels to be the incomprehensible and meaningless horror of modernity via its ‘novum’, its unprecedentedness in Western literature, its semiotic emptiness.  However, the meaninglessness of the tentacle becomes its meaning… or rather, it’s most prominent feature.  Its very arbitrariness allows it unfettered entry into almost any context, sometimes even conferring an advantage upon it when someone like Terry Nation is looking for a default monster that will have nothing to do but get the writer out of a plot cul-de-sac, or look cool.…

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Asylum, UK

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A rejigg of something I wrote for the old site on the subject of ‘Turn Left’, the best episode of series 4.

The alternate world that Davies conjures up in ‘Turn Left’ is not so far removed from our own. We might not (yet) see British soldiers patrolling our streets and pointing automatic weapons at unarmed women (though the recent behaviour of the police towards student protestors has been pretty savage)… but that sight would not be so unfamiliar to the people of Baghdad. Or Belfast, for that matter.

The nightmarish, decaying, dystopian Britain in this episode reflects aspects of our current social predicament… indeed, as Simon Kinnear pointed out in DWM, the episode seems prescient of the years ahead of it, of (to put it my way) recession/cuts torn Britain.

While it doesn’t get specific, or touch economics much, ‘Turn Left’ seems like the closest thing to a direct political attack on crisis-wracked British society that any mainstream TV show could possibly get away with. Let’s just recap: in an episode of that highly commercial kid’s romp known as Doctor Who, Russell T. Davies suggested that, in a time of crisis, the British state might institute a program of racist slavery, if not extermination. At the very least, we see people herded and treated like animals while patrolled by armed guardians of the state. Moreover, the people being treated that way are the poor, the dispossessed, the helpless. Brits get the kind of treatment meted out to refugees once they too become scapegoatable dependents.

I’m not sure that Davies intended the title as direct political advice (though it wouldn’t be bad advice) but it surely can’t be entirely an accident that Donna’s apocalyptic turn is a turn to the right, a turn that results in “England for the English”.

The Donna in the car at the start of ‘Turn Left’ might vote that way. She’s the same thoughtless, selfish Donna we met at the start of ‘The Runaway Bride’. She’s exactly the kind of self-involved, complacent brat who hardly notices as society crashes around her… until she is touched by it. Davies pulls no punches. We see her obsessing over stationary and offices grudges as the rest of Chowdry’s staff watch the TV, horrified, for news of the hospital. We see her asking “What’s for tea?” as news of Sarah Jane Smith’s death flashes on the screen.

I know people like that. Indeed, speaking as someone who lives in southern England – surely the global epicentre of reactionary complacency – it is very hard indeed not to derive a massive and delicious jolt of schadenfreude from the way Davies manages to turn the (surviving) population of the Sun and Daily Mail reading world into despised, harangued, jobless refugees. “Who’s going to listen to us?” asks Donna’s Mum, “Refugees. We haven’t even got a vote. We’re just no-one Donna. We don’t exist.” To put it another way: seek asylum and you’ll be locked up in one.

It’s ironic that as Donna’s society disintegrates, she suddenly discovers other people.…

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Alien Nation

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“The alienation of the worker in his product means not only that his labor becomes an object, an external existence, but that it exists outside him, independently, as something alien to him, and that it becomes a power on its own confronting him. It means that the life which he has conferred on the object confronts him as something hostile and alien.”

– Karl Marx, Economic and Philosophical Manuscripts of 1844

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