The year is 1950 -- but it's not our 1950. Things began to go off the rails, history-wise, in 1917-1918. Lawrence of Arabia was shot dead at the gates of Damascus, for example: the whole face of the middle east is utterly different. Trotsky had flu in October 1917 — the Bolshevik revolution happened in early 1918, and Stalin got himself killed in the process. Because of the late Russian collapse, World War One ended differently in this universe: the Kaisershlacht started in June (not April), the German high command collapsed in January 1919, and Germany was actually occupied by Allied forces (including the first large-scale deployment of what would later be called Blitzkrieg warfare — this was actually planned, but never used because of the German capitulation in November 1918). Germany was invaded, subjugated — no support for the "stab in the back" theory that Hitler used so effectively.In this world, Hitler never becomes dictator, and nor does Mussolini; fascism, however, is invented in Britain (with an Eric Blair becoming dictator of the Empire), and a standoff in Europe between the fascist republic of Britain and the Soviet Communists, with an isolationist America gradually taking an interest in the state of affairs, sending over two agents to investigate a curious trade of computers for heroin, and various real-world historical figures' alternate selves making appearances:
(This is all rooted in a vision I had, of William S. Burroughs as a CIA agent, and Philip K. Dick as his young henchman, going head-to-head with notorious gangster and pervert Adolf Hitler somewhere in Hamburg to find out where Hitler is shipping all the computers he can get his hands on.)It's a pity that this book will never get written. But one can console oneself with the outline posted in Charlie's blog:
And linked from the comments (on a tangent from Charlie's dislike of traditional high fantasy and its somewhat reactionary politics): Howard Zinn and Noam Chomsky's (unused) audio commentary for Peter Jackson's Return of the King film, which exposes the colonialist-imperialist nature of the Elves and their lackeys:
ZINN: Self-hating, Elf-emulating Men invest so much in symbolic one-upmanship characteristic of capitalistic societies: Who has the nicer tunic? Whose dagger has more shiny gems on it? Who has the strongest pipe-weed? But the Orcish alliance seems to be a truly mutual, multicultural cooperative enterprise.
ZINN: You see the walls of Minas Tirith up close here. Albert Speer would have been proud. Notice the grand scale, the "great works" emphasis of Gondorian architecture. The fascist uniformity of their battle dress. Compare it to the folk artwork of Orcish armor—their improvisatory use of shrunken heads and Mannish skulls, for instance. There's something very beautiful about it to me.
CHOMSKY: A perfect example of what Ruskin valorizes as the Gothic aesthetic.
ZINN: It's nonstandardized, individual, homespun, bespoke. It's also imbued with a kind of nature worship that Elves merely play at.