Great Zimbabwe

Aerial view of part of the Great Zimbabwe complex. Photograph by Janice Bell
Aerial view of part of the Great Zimbabwe complex, photograph by Janice Bell via Wikimedia

Great Zimbabwe is a ruined city in Zimbabwe (and in fact has given the modern country its name). Built over centuries beginning in the 9th century, the site was a center of power for the medieval Shona (or Kalanga) kingdom and part of the trade networks that spanned the Indian Ocean. It was abandoned in the 15th century and stands in ruins today, but even in its ruined state it is impressive.

Wall of the great enclosure. Photograph by Jens Klinzing.
Wall of the great enclosure, photograph by Jens Klinzing via Wikimedia

The remains of numerous stone enclosures spread over hundreds of hectares. At its height, Great Zimbabwe may have housed between 15,000 and 20,000 people. The surviving walls reach heights of five meters and are built of stone blocks assembled without mortar. Several different complexes occupy different positions ranging from hills to near the river. The significance of these different complexes remains unclear, but it may indicate that the center of settlement gradually moved over time, away from the more defensible hill sites to the more accessible valley sites, perhaps to better engage with the oceanic trade networks. Ivory and gold were Great Zimbabwe’s major international exports and trade goods from the Arabian peninsula and China have been found at the site.

Interior walkway showing the quality of the stonework. Uploaded by Vinz.
Interior walkway showing the quality of the stonework via Wikimedia

One noteworthy feature of the enclosures is their shape: neither rectangular nor circular but irregular curved shapes adapted to the forms of the landscape on which they sit.

In the colonial period, popular theories held that the site must have been built by ancient European or Asian colonizers. The biblical Queen of Sheba was often mentioned in connection with the site. Although archaeologists realized as early as the early twentieth century that Great Zimbabwe had been built by Africans, the colonial administration in what was then Rhodesia suppressed any such claim. The assertion that Africans were incapable of building such a complex site and needed European guidance to achieve any level of civilization was key to the justification of imperial domination. Colonial authorities could not tolerate any evidence that Africans were capable of creating sophisticated works of art and architecture on their own.

Part of the hill complex seen from the valley below. Photograph by Macvivo.
Part of the hill complex seen from the valley below, photograph by Macvivo via Wikimedia

Thoughts for writers

I have two reasons for sharing a little bit of Great Zimbabwe.

First, it is another example of architecture that does not depend on European examples. When doing our worldbuilding as writers, it is easy to fall back on the things that are familiar: European castles, Egyptian pyramids, Greek temples, and the other things we’ve seen before. Let yourself be inspired by the other amazing things people have built. I’d love to see a city inspired by Great Zimbabwe at its height turn up in a fantasy story, even one not set in an explicitly African-inspired world.

Second, this is another example of how politics can screw up good historical scholarship and so why you need to read broadly and get outside familiar frames of reference. Even today, while the Queen of Sheba is generally left out of it, claims that Great Zimbabwe was built by Arabs or Phoenicians still occasionally creep into popular histories.

History for Writers is a weekly feature which looks at how history can be a fiction writer’s most useful tool. From worldbuilding to dialogue, history helps you write. Check out the introduction to History for Writers here.

Making A Long-Expected Party

Here’s a look at how we made yesterday’s A Long-Expected Party.

The menu

  • Potato and cream soup
  • Roast pork with apples, root vegetables, and ginger gravy
  • Roasted asparagus
  • Stuffed pears
  • Red wine

erikchef1As Elves love song and Dwarves love the gems of the earth, so Hobbits love their food. We know more about Hobbit food than about the cuisine of any other culture on Middle Earth, so it is a surprise to find that in the description of the festivities for Bilbo Baggins’s 111th birthday, we learn nothing about what was actually on the table. (Though clearly there was plenty of it, whatever it was.) That means that for our very first Middle Earth dinner, we have to use a little imagination. Fortunately, there’s a lot to go on.

Since this is a party of special magnificence (with supplies brought in all the way from Dale), I’ve tried to make a combination of typical Hobbit fare with a few special or exotic twists.

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Travel: Large Groups on Foot

160118legionSometimes writing fiction means not just moving a few characters around the map but planning entire campaigns for massive armies. In previous entries in the travel series we looked at some basic issues and how small groups travel on foot. For large groups on foot, much of what we discussed in those entries is relevant, but large groups of people, like armies or mass migrations, bring with them their own set of problems. Today we’ll look at some basic questions in the movement of large groups: How large is “large?” What did it take to make the journey successfully? How far could they travel? And how fast?

This post is written with a particular focus on armies, since they are the best-studied large groups that traveled in the pre-industrial world, but any sufficiently large group of people traveling by foot would face the same basic problems.

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Dining in Middle Earth

“As for the Hobbits of the Shire, with whom these tales are concerned, in the days of their peace and prosperity they were a merry folk… with mouths apt to laughter, and to eating and drinking. And laugh they did, and eat, and drink, often and heartily, being fond of simple jests at all times, and of six meals a day (when they could get them).”

So Tolkien introduces us to his Hobbits, lovers of good food and good company. There is plenty of eating and drinking in The Lord of the Rings, from humble Hobbit fare to Elven delicacies, from the foraged meals of rangers in the wild to the feasts of great kings.

In 2016, we’re taking up a project to eat our way through The Lord of the Rings. Every month, we’ll prepare and present a dinner inspired by foods from the novel, working our way through the story from Bilbo’s 111th birthday party to Frodo’s return to the Shire. Along the way, there are some meals that Tolkien describes in such detail that we can read the menu straight from the page. In other places, he offers only tantalizing hints that require us to engage in gastronomical-literary archaeology to fill a table.

Napkin Knife Spoon

We’re doing our best to stay true to the novel in the project, so where Tolkien gives us a clear idea of what the characters eat, we stick to it. When we have to figure something out on our own, we use clues from The Lord of the Rings and The Hobbit and ideas from historical cookery to guide us.

We’ll share the results of our work with you around the middle of the month. A post introducing the month’s meal and showing the results of our labors will come out on a Wednesday. The following day, we’ll offer a behind-the-scenes view of how we researched the food, decided on a menu, prepared the dishes, and designed the setting, complete with recipes you can try for yourselves. We’ll collect links to all the entries on this post, so you can always come back here to get caught up, or check the dining in Middle Earth tag to find them all.

A note on the behind-the-scenes posts: we’ll be referencing passages from the book and since there are many different editions of the text with different paginations, we’re using the book and chapter divisions given in Tolkien’s table of contents. For example, the first half of The Fellowship of the Ring is identified as Book 1. In that book, chapter 4 is “A Short Cut to Mushrooms,” so we reference that chapter as (1.4); we reference Hobbit chapters with (H).

January: A Long-Expected Party / Making A Long-Expected Party

February: A Farewell Feast in Bag End / Making A Farewell Feast in Bag End

March: Supper at the Prancing Pony / Making Supper at the Prancing Pony

April: Food in the Wild / Making Food in the Wild

May: In the House of Elrond / Making In the House of Elrond

June: Dinner with Durin’s Folk / Making Dinner with Durin’s Folk

July: Of Herbs and Stewed Rabbit / Making Herbs and Stewed Rabbit

August: Rangers’ Rations / Making Rangers’ Rations

September: The Courtesy of the Golden Hall / Making The Courtesy of the Golden Hall

October: Flotsam and Jetsam / Making Flotsam and Jetsam

November: The Return of the King / Making the Return of the King

December: A Proper 1420 / Making a Proper 1420

Image by Eppu Jensen

Geeks eat, too! Second Breakfast is an occasional feature in which we talk about food with geeky connections and maybe make some of our own. Yum!

Gift Exchange

160111elephantGift exchange is part of festive celebrations for many people in the modern world, including many traditions whose gift-giving season has just passed. In the pre-modern world, though, gift exchange was often a vital part of social, political, and economic life.

The essential principle of gift exchange is reciprocity. Giving someone a gift obliges them to return a gift of equal value. In the modern market economy in which every item can be assigned a monetary value, this is cause for anxiety (and comedy) over gift-giving, but in earlier societies value was measured in other ways. The value of a gift often depended on the prestige of the person giving it. Since gifts were reciprocal, they created a relationship, of which the gift acted as tangible proof. The modern taboo against asking the price of a gift (“Don’t look a gift horse in the mouth”) attempts to reinforce this kind of value in a monetized world.

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Things I Can Do Without

We all have our storytelling pet peeves: the things that make us yell in frustration at the screen or put down a book in disgust. Some things have been done to death already and we want to see something new. Some things play on outdated assumptions and problematic tropes. Some are just lazy writing.

Misery loves company, so let’s share. Here’s a few of mine.

1. Fathers and sons who have a bad relationship.

A father who was never emotionally available to his son and is now disappointed in his son’s failure to live up to his expectations? A son who resents the pressure put on him to be like his father and craves the love and approval his father never gave him?

It’s been done. Really, it has. Everyone from Homer to Shakespeare to George Lucas has done it. That dead horse has been pounded into subatomic particles by now. There is nothing new to be said on the subject. Time to move on.

 

160107Kirk2. Heroes who have no plan

Or if they do have a plan, it depends on factors that the hero can’t control or predict.

This doesn’t mean that plans have to be perfect or go off without a hitch. You can’t control for everything. Plans have to change in response to unforeseen events. There can be plenty of good drama in the uncertainties of chance, and I’ll even take the occasional deus ex machina if it’s clever enough. But a hero who’s counting on the deus ex machina for victory? That’s right out.

 

160107Moriarty3. Villains who have no goal

A good villain has a goal they are trying to accomplish and a plan for achieving that goal. No matter how fiendishly complicated the plan, if the goal is just to indulge a vaguely sexual obsession with the hero, something has gone wrong in the writing.

“Annoy the hero and force them to play with me” isn’t a goal, it’s a toddler tantrum.
160107CSI4. Weirdos who can’t tell fantasy from reality

A terrible murder has happened at an SFF convention. When the police show up to question witnesses, the bystanders refuse to speak English and answer all their questions in Klingon. It turns out a vampire cosplayer killed a werewolf LARPer. Why? Because vampires hate werewolves! No other motive required!

This one isn’t just lazy writing, it’s insulting. The usual targets are fandom or kink communities, but anyone who isn’t in the mainstream can be a victim. I’m a history professor. According to popular media, that means I must show up in class wearing a toga and insist that my students address me as “emperor.”

Writers of the world: the inability to distinguish reality and fantasy is a sign of a serious mental illness. It is not how those of us who belong to non-mainstream interest groups go through life.

 

160107Se7en5. “Gimmick” serial killers

This one is really just the intersection of 3 and 4, but it shows up often enough to merit special mention. These are the characters who kill people as part of some elaborate symbolic game. “My God, the killer is targeting people whose names are anagrams of Alice in Wonderland characters and staging their bodies to look like scenes from Rogers and Hammerstein musicals, and they’re doing them in reverse alphabetical order when translated into Albanian!”

That sound you hear is my suspension of disbelief repeatedly slamming its head into a wall in hopes of inducing a coma.

 

I could go on, but that’s enough from me for now. Your turn. Got something on your mind that you could do without ever reading or watching again? Share in the comments!

Images: Community via ScreenCrush. Kirk via Memory Beta. Moriarty via Baker Street. CSI Blood Moon via dkompare. Se7en via Crash/Burn

Story Time is an occasional feature all about stories and story-telling. Whether it’s on the page or on the screen, this is about how stories work and what makes us love the ones we love.

History for Writers Compendium: 2015

History for Writers explores world history to offer ideas and observations of interest to those of us who are in the business of inventing new worlds, cultures, and histories of our own. Here’s where we’ve been in 2015:

Thinking about history and writing

Worldbuilding basics

Economics and wealth

Military history

Race and gender in history

Architecture

Recommended reading

 

Special series:

Travel

Ostrich riding and the perils of research

Creating fantasy religions

Join us in 2016 for more history.

History for Writers is a weekly feature which looks at how history can be a fiction writer’s most useful tool. From worldbuilding to dialogue, history helps you write. Check out the introduction to History for Writers here.

The Return of the Bread Pudding

For our final Star Wars rewatch, here’s a sweet but simple bread pudding.

The Return of the Bread Pudding

Ingredients

  • Stale bread, any kind, enough to make 4-5 cups loosely packed cubes
  • 4 egss
  • 1 tablespoon rum
  • 1/4 cup sugar
  • 1 teaspoon cinnamon
  • 1 teaspoon nutmeg
  • 3 cups milk

Cut the bread into chunks and press into a buttered baking dish until well packed in.

Beat the eggs, rum, sugar, and spices together until well mixed.  Add the milk and beat well.

Pour the milk mixture over the breadcrumbs. Press down the top with a spatula or spoon to make sure the liquid is well distributed.

Let sit for half an hour, pressing again occasionally, until the liquid is thoroughly absorbed by the bread.

For best results, set the baking dish inside a larger dish of water to make a water bath, ensuring that the level of the water reaches up to the top of the pudding. If this is not practical, you can just bake the pudding in its dish, but be aware that the edges may get crusty.

Bake at 350F / 175 C for 1 and 1/4 hours.

Serve warm with ice cream or whipped cream.

 

Image by Eppu Jensen

Geeks eat, too! Second Breakfast is an occasional feature in which we talk about food with geeky connections and maybe make some of our own. Yum!

Our Star Wars Rewatch Project: Epsidode VI

Our Star Wars rewatch concludes with Episode VI – Return of the Jedi.

1. Best Fight

Eppu: The space battle above Endor! Epic! (Even if it’s modeled after aerial dogfights, but nostalgia…)

151217atstErik: Ewoks vs. stormtroopers. I know some people think it’s too silly, but I disagree. The rebellion vs. the empire was always a case of guts and inventiveness vs. industry and regimentation. The fact that the empire never even considered that the ewoks could be a threat was their undoing. Besides, there’s nothing like seeing an imperial walker get smushed between two dropping logs.

2. Best Line

Erik: “I don’t know. Fly casual.” Han’s approach to life in five words.

Eppu: “How are we doing?” Luke: “Same as always.” Han: “That bad, huh?”

3. Best Minor Character

Eppu: This may be a little corny, but Admiral Ackbar! (“It’s a trap!”)

Erik: The commander in charge of the Death Star construction. He seems like a well-organized, conscientious leader, just the sort of person you’d want to put in charge of such a huge project. Too bad he works for a genocidal totalitarian dictatorship.

4. Best Reveal

Erik: R2-D2 was carrying Luke’s lightsaber in Jabba’s palace all along. The moment that lightsaber handle pops up out of the droid’s top is the moment when “Luke, you naive idiot!” turns into “Luke, you cunning bastard!”

LG_CRACK lennongirl Han epi626

Eppu: A two-parter: Luke finds out on Dagobah that Leia’s his sister, and Leia tells Han that Luke’s her brother. Mostly the latter because of the expression on Han’s face (click, click, click… you can see the wheels turning).

5. Best Save

Eppu: Chewie and ewoks commandeering a walker on Endor and turning its guns against the Imperial troops. Pew pew!

Erik: Luke Force-floating C-3PO in the ewok village to convince the ewoks to let them go. C-3PO’s mid-air freak-out pushes it just far enough over the top to go from ridiculous to hilarious.

6. Best Visual

151217MFErik: The Millennium Falcon racing the fireball out of the exploding Death Star. It still gets me on the edge of my seat.

Eppu: The rebel fleet coming out of hyperspace to attack the new Death Star.

Extra: Best Guess for an Episode VII Hook

Eppu: Leia’s become a Jedi. Her title has been revealed to be General, which lines up nicely with her holo-message line to Obi-Wan in Episode IV (“General Kenobi. Years ago, you served my father in the Clone Wars…”).

[And a week after writing the above, the world came crashing down: J.J. Abrams revealed in an interview with IGN (as reported by Moviepilot) that Leia chose to lead the rebellion instead of becoming a Jedi. Ohwell.]

Erik: Palpatine has been pulling the rebellion’s strings all along. He’s a master manipulator who can foresee the future. Did he have a contingency plan for Vader’s betrayal and his own (apparent?) death? Are his dead(?) hands still pulling the strings?

Images: Ewok log trap via History Bomb. Han’s bafflement via lennongirl / LG-CRACK on LiveJournal. Millennium Falcon escaping Death Star via Starscream & Hutch

In the Seen on Screen occasional feature, we discuss movies and television shows of interest.

Star Wars and the Classics, Part II: The Original Trilogy

151216vaseYesterday we looked at how classical literature offers interesting ways of looking at the Star Wars prequel movies. We continue today with the original movies.

Episode IV: A New Hope – Homer, the Odyssey, Books 14-22

Episode IV can be read, from a certain point of view, as an essay in heroism. In particular, we see three different kinds of heroes: the always-was-a-hero, the becoming-a-hero, and the choosing-to-be-a-hero.

Leia is the always-was. She is a hero from the beginning of the movie straight through to the end. We never see her stop being heroic, even when being rescued. She has been part of the rebellion literally since she was born and even the destruction her homeworld doesn’t stop her.

Luke is the becoming. He starts as just a farmboy who dreams of far-off adventure. When he discovers his true heritage he strives to live up to the legacy of his father Anakin the great Jedi. Much is expected of him and he does his best to be the hero that people like Obi-Wan and Leia need him to be.

Han is the choosing-to-be. He’s a smuggler and scoundrel who isn’t in it for the rebellion. He just wants to do a job and get paid. He could have just flown away from Yavin with his hold full of cash and nobody would have been surprised. Instead, he decides to come back and help Luke blow up the Death Star.

The same three kinds of heroes appear in the Odyssey. In Book 14, Odysseus has just made it safely home to Ithaca but is still in disguise, getting the lay of the land and figuring out how to deal with the suitors who have been gorging themselves in his hall. The next few books follow Odysseus as he gathers allies, makes plans, and finally confronts the suitors in the final battle in Book 22.

Odysseus is here the always-was. He is a veteran of the great war at Troy and a cunning warrior. He begins the epic as a hero and never falters. Nothing stops him in his determination to get home and reclaim his place as king. Books 14-22 show him as a steady, crafty commander, biding his time and waiting for the right moment to strike.

Odysseus’ son Telemachus is the becoming. As the epic begins, he is just entering manhood and starting to take his first tentative steps into his father’s old role. For Telemachus, the Odyssey is all about proving that he is a worthy son to a heroic father that he knows only through stories. In this stretch of the epic he finally meets his father and proves that he can live up to his example.

The choosing-to-be hero of the Odyssey is Eumaeus, swineherd to Odysseus’ house and one of the servants who remains loyal to Odysseus, even when his master has been gone for twenty years. The sensible thing for Eumaeus to do would have been to abandon Odysseus and suck up to the suitors, like many of the other servants do, to secure his place in the household when Penelope eventually marries one of them. Instead, he sticks by his old master and helps him take back his home.

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