A Few Observations

There is a good interplay between discussion of SM Stirling's works and discussion of Poul Anderson's. Their alternative histories spark off each other.

I suggested an Anderson collection:

The Old Phoenix And Other Universes

"The House of Sorrows" is set in an alternative history. Furthermore, it is a history in which the Jews did not return from Babylon.

"Eutopia" is about travel between alternative histories. Furthermore, the travelers originate in a history where Alexander the Great did return from Babylon.

"House Rule" and "Losers' Night" are set in a meeting place between alternative histories.

Three stages: presentation, elaboration and summation of the concept.

I hope that I present practical demonstrations of the value of rereading. Several works by Anderson and Stirling have been read and blogged about twice. There is always more to be found in their texts.

Yesterday, Sunday, was spent with the lap top while recovering from a party. The next few days will be spent in other activities. Thus, less time from blogging. I will continue to reread SM Stirling's Conquistador.

Two Surprises In The Old Phoenix

Poul Anderson's "Losers' Night" is an extremely compact text. A full analysis of the story would be longer than it, especially if every historical reference were to be followed up. I want to focus just on the conclusion.

When Francois Villon has sung about Christians "'...burning heretics, hanging Jews...'" (All One Universe, p. 123) -

- the first person narrator comments:

"I thought his mind had slipped back to his medieval realm, until I remembered what world it was whereon Winston Churchill now opened the door. The envoi sums up the entire ballade." (ibid.)

(Do we need that last sentence?)

This is a double surprise ending. First, it is possible that some readers have not realized that the "John Bull" Englishman in the story is Churchill. Any such readers will be pleasantly surprised by the second half of the second last sentence. Secondly, however, their pleasurable recognition of a historical figure might distract their attention from the reason why the narrator remembers the world to which Churchill returns: Europe between the Wars. Mass murder of Jews was not solely a medieval aberration.

But there is more. In the Old Phoenix, Churchill has met van Gogh and their conversation has inspired him not to "'...surrender...'" (p. 122) despite his current political setbacks. World War II awaits.

Associative Processes

Blogging processes are allusive and associative, not logical or linear. Thus, discussion of SM Stirling's alternative histories generated speculation as to whether any of Stirling's characters might find their way into Poul Anderson's inter-cosmic inn, the Old Phoenix, but this in turn led to discussion of the historical figures that Anderson does show us in the Phoenix and that discussion proved to be far more fruitful than I had expected, despite my relative familiarity with these texts.

"Losers' Night," if read hastily, merely presents disjointed snatches of diverse conversations. I had enjoyed it even on that level. However, when reread carefully, line by line, it turns out to be a summation of the Old Phoenix sequence because it refers to Holger, Valeria, Rupert and Abelard and also reflects on the roles of several individuals in history. They made their marks so were they really "losers"?

This means that I must finish rereading the Old Phoenix passages of A Midsummer Tempest and will then be free to return to Stirling's Conquistador. But first I hope that there will be a family visit to the Wolfhouse Gallery this afternoon and a historical talk this evening.

Anonymous Historical Characters IV

See here.

The Winston Churchill whom we see in the Old Phoenix refers to "'...the Great War...'" (All One Universe, p. 119), thus confirming my suspicion that this Churchill has entered the inn from some time in the period between the Wars. When we contemplate a meeting in the Old Phoenix, it does not matter if one of the participants is known to be dead because he can have entered the inn either from a time before he died or from a timeline in which he died later. On the other hand, if we imagine an encounter as occurring not in an inter-cosmic inn but in one of the hereafters, then all the participants must be dead - unless they can emulate Orpheus.

Who is next?

"...the cadaverous Spaniard who had patched together a ridiculous armor..." (ibid.)
Don Quixote?;

"...the stunningly beautiful, imperially garbed Chinese lady..." (ibid.);

a white couple "...dressed like subjects of the Ottoman Empire..." (ibid.);

a Tudor woman clutching a crucifix;

Jack Wilson.

Villon asks in song:

"'Since naught can remain for posterity
"'But a name all honor and none abuse,
"'Who was the victor, Grant of Lee?
"'Even the dead have much to lose.'" (p. 121)

The fate of the dead is a manifest theme even if the clientele of the inn are still living when they enter the Old Phoenix.

The Taverners must observe restrictions or lose their license - which is not from God.

Villon addresses Christ as "'...Prince of losers...'" (p. 123) and mentions the mass murder of Jews. Our twentieth century narrator thinks that Villon is referring to the Middle Ages until he remembers the world to which Churchill returns - between the Wars.

I have not read this story properly before.

Anonymous Historical Characters III

See here.

Despite the general anonymity, the narrator names Francois Villon (see image). However, most of the others remain a guessing game. A rugged Edwardian Englishman's dreams will end in ice and hunger. Shackleton? The rugged Englishman converses with a "...dark man in a form-fitting glittery coverall..." (All One Universe, p. 111), whom I take to be fictional.

Kit Marlowe is mentioned although not present on this occasion.

Another man has "...bony head, craggy nose, ruddy beard..." (p. 112) - and both ears. Shouldn't he have had? The narrator quotes, as if relevant:

"The light, the coals, like the sun." (ibid.) - and then quotes the bony-headed man himself as saying, in Dutch:

"'White, Theo. All colors go up together in the white heat." (ibid.)

Van Gogh? (Later we learn that Bony Head painted self-portraits.)

A French-speaking European in early nineteenth century garb with failing sight sips wine while conversing with an Arabic-speaking North African Muslim who drinks fruit juice. The Muslim remarks that nomads revitalize civilization but later in turn become corrupt and feeble. The European compares extinctions in other species with human degeneracy.

Villon sings of Harald Hardrada dying at Stamford Bridge and mentions Simon Bolivar whom the Time Patrol helped.

The John Bullish Englishman who enters next is named at the end of the story - Winston Churchill.

There are more. We can discuss which characters could profitably visit the Old Phoenix but we should mainly appreciate how well Anderson blends together those that he does send there.

In The Old Phoenix

All One Universe, p.111.

These guys have been there:

Theseus (and here)
Scheherazade
Falstaff
Holger Danske (and here)
Huck Finn
Irene Adler (see image)
Red Hanrahan
blind Rhysling
a Zenobia who won free of Rome
an Abelard who remained whole (and here)
a Prince Rupert who defeated Cromwell (and here)
a Tecumtha who preserved his nation

These alternative versions of Abelard and Prince Rupert are in Poul Anderson's canon whereas the alternative Zenobia and Tecumtha are not.

And, if you can find the time to research all these characters in the detail that they deserve, then you are a better man than I am.

Anonymous Historical Characters II

See here.

In the Old Phoenix:

"[The landlady's] shelves are small, but somehow she can produce anything you ask for."
-Poul Anderson, "Losers' Night" IN Anderson, All One Universe (New York, 1997), pp. 105-123 AT p. 109.

An easy feat in multi-dimensional space. The Doctor's TARDIS is notoriously bigger outside than in.

The next speaker is clearly Charles Stewart Parnell but who is the Spartan with whom he discusses the restoration of justice against timocracy?

Before listening to any more men, the first person narrator lists several interesting women:

Hatshepsut;
Jingo Kogo;
Gunnhild;
Britomart;
Sacajawea;
Moll Flanders;
Sojourner Truth;
Valeria Matuchek.

Gunnhild and Valeria are parts of the Anderson canon. And that is enough from me at this time of night.

Anonymous Historical Characters

Can we identify the unnamed historical figures who meet in the Old Phoenix in Poul Anderson's "Losers' Night"?

The first who speaks:

must be a loser - or he would not be here on this occasion;
is lean, dark and somber;
speaks classical Latin;
wears a toga;
expects to fight a battle soon, probably at Philippi;
aims, after the battle, to restore the Republic.

That Republic will not be restored. Instead, an Empire will be built. This must be Brutus?

His companion:

answers the same physical description;
speaks Canadian French;
wears a plaid shirt and faded blue work trousers;
realizes who the other man must be;
claims to be a simple, unlearned metis;
is advised to return to his country because his people need him;
replies that they cry to him for justice...

Is this Louis Riel?

Clearly, I have not read this story closely enough before.