Ironically, the technology that enables nuclear weapons in Miller’s novel, also affords vehicles of transcendence, allowing the characters of Brother Joshua and his coterie to continue onward carrying the dialectic of nuclear culture even further into the future. The starship that carries Miller’s Brother Joshua into the heavens at the conclusion of “Fiat Voluntas Tua” is akin to the crude puppet box that Riddley uses to transcend the social hegemony of the world in which he lives. Hoban does not give us the ultimate conclusion of Riddley’s history, but the promise of transcendence is embodied in Riddley, who will generate a new cultural ideology via his theatre. One has to hope that his own discourse will prevail in the Hegelian synthesis of his own future history. Of course the puppet box is not as sophisticated as an atomic warhead, but Riddley is acutely aware of the mentality that enables the powerful to subvert the weak through manipulation of information and technology. In Riddley Walker, mastery over the Eusa narrative may be helpful in decoding the chemical nature of gunpowder, but it is Riddley who makes it explicitly clear that the human mind in a natural evolution of culture and united effort could eventually rediscover chemistry and physics, like the lesser characters of Esser Shon and Mad Bear in Canticle. Riddley is also quick to point out that it is simultaneously his highly developed mind that decodes the Eusa story and unleashes the dark ambitions of those that would exploit him in search of truth and political gain.
Both survivors, Riddley and Brother Joshua so to speak, utilize the most sophisticated technology of the day to subvert their would-be enemies and transcend the bounds of their respective realities. Riddley uses the discourse of his own puppet box to combat the antithetical ideology of the Eusa play, and the encoded science of the “yellow stoans” and “1Big 1.” Patricia Warrick notes that the archetypical concept of the transcendence of characters in the course of their own narratives opens up a never ceasing plethora of universes where the philosophical quandaries of humanity can be infinitely tested in an infinite number of computations, creating the parameters for an unbroken dialectic continually churning forever into the future. The openness of the system in terms of what is promised by these machines is fascinating: be they starships or puppet theatres, the correct tumblers are in place to unlock another cycle of history and possibly many more. The concept that an unbroken strain of dialectic could exist nearly forever, if not eternally, is best known as Hegel’s infinite mind. First introduced in his seminal work Phenomenology of the Spirit, and explored in Stapeldon’s Last and First Men, it is further meditated upon in these two glorious novels.
For Hegel, the dialectic is the process by which all historical currents of thought and debate run together and devour one another, but a curious quandary of logic occurs when this process is extended into the indefinite future. Cyclical science fiction takes this concept of an entire history having run its course, and envisions the survivors of that cyclical overhaul attempting to piece together and understand what forces had created the world in which they live. Artificial intelligence is not just a reflection of cognitive processes; it is often featured as the transcendence of the human mind itself. This never ending cycle leads the reader into the third critical issue developed in these texts.
If some remnant of human consciousness is going to last forever through the infinite phases of time and space, why do the alternating patterns of enlightenment and destruction seem to be the key staples of human history? That is, whether or not Hegel’s concept of an infinite mind or infinite consciousness could really be possible. These fictions create the right circumstances under which the destructive and imaginative potentials of humanity’s.mind stretched to infinity can be tested. As quoted previously, Hegel writes, “The essential requirement for the science of logic is not so much that the beginning be a pure immediacy, but rather that the whole of the science be within itself a circle in which the first is also the last and the last is also the first” (Hegel 106). Simply put, the nature of cyclical history is dependant on the development and maintenance of a scientific awareness of the universe, and that humanity is indebted to this faculty for revealing his role in the greater scheme of the universe.
In the scheme of these novels, apprehension of the scientific mindset not only enables the awakening of the literary imagination of the characters, but it also foreshadows that someday all of the achievement and revelation that science can promise will only reveal to humanity his nature as a creature barely surviving in a dim corner of a vast universe. When Joshua leaves earth at the end of the third section of Canticle it signals the final desperate stroke of survival for the human race. Ironically, the passage to the heavens is enabled through the same fruits of scientific and political endeavor that enabled worldwide holocaust. Abbot Zerchi, the head of the monastery in “Fiat Voluntas Tua” asks. “Are we chained to the pendulum of our own mad clockwork?” (Miller Canticle 267).
The abbot is trying to rationalize why the civilization in which he lives seems programmed like a clock (or a computer for that matter) to repeat the sins of the pre-deluge civilization. He is also looking far into the future of his kind and seeing, as Miller does, that humankind is ultimately doomed. It would be hard to believe Riddley Walker holding such a pessimistic view considering that it is his activist personality that attempts to wean the infant civilization off of the Eusa play and the implications of destruction it promises. It is the natural faculty of humanity to wonder about, investigate, and record what history had begat the present. The deciphering of the mysterious memorabilia is Miller’s way of articulating this process, just as Riddley Walker’s extrapolation of the Eusa play represents an anthropological investigation of the oral history of a future lain to waste by nuclear war. To give weight to this process as an anthropological method Hegel writes:
It would be truer to say that Dialectic gives expression to a law which is felt in all other grades of consciousness, and in general experience. Everything that surrounds us may be viewed as an instance of the Dialectic. We are aware that everything finite, instead of being stable and ultimate, is rather changeable and transient; and this is exactly what we mean by that Dialectic of the finite, by which the finite, as implicitly other that what it is, is forced beyond its own immediate or natural being to turn suddenly into its opposite. (Hegel, Phenomenology of the Spirit 97)
The Hegelian dialectic at play in the imaginations of Hoban and Miller creates the necessity to present antithetical symbols to humanity in these novels. In both Canticle and Riddley Walker, the knowledge of computer technology enabling the downfall of humanity is profligate in symbol and plot action. Computer technology, like its cousin atomic science, was unknown to Hegel, and it was only in its primordial infancy when Stapledon was penning his major works, but the idea that computers could not only replace man, but also repress, humanity was central to both Hoban and Miller’s visions of the future.
Each foresaw that when humanity came into competition with its machines in the fields of logic, rationality and computing speed, a dialectical process had already begun ensuring a dissolution and synthesis of both competing forces. Like nuclear weaponry, the science of artificial intelligence has had a profound impact on modern science fiction. It is important to note that both authors toy with the concept of artificial intelligence as the ultimate machine: it just so happens that nuclear weapons have been perfected first. The inhabitants of these future worlds are the product of the union between humanity and its technology, the scale of weaponry enabled by computer technology ensuring a worldwide sea change for humanity and the role that machines play in modern society.
Both writers explicitly employ computer terminology to describe the mechanistic nature of humanity, many of the characters unwittingly employing language left over from a technologically superior culture. Riddley Walker often utilizes a language that is a blatant extrapolation and product of a society dependent upon technology. The language utilized by Riddley retains the hallmarks of a language steeped in technological progress, but is unconscious of its origins. Akin to Miller’s character of Brother Francis in Fiat Homo, Riddley Walker unconsciously says to the reader of the text “It wer like I jus ben programmit to go there and get him out” (Hoban 77).
Instead of saying he was fated or unwittingly drawn to the discovery of the imprisoned character of Lissener, Riddley explicitly says he was programmed to find Lissener, just as a machine is programmed to do any other task. Brother Francis is characterized by the same machine like quality, whose mind “machine like” was drawn to the arch stone which had been marked by Benjamin (Miller, Canticle, 12). The linguistic union of human and technological dialogue represents the dialectical synthesis of Hegel’s model of history. Since it turned out that the technology and cultural status of the atomic bomb is what had prevailed to create these new realities, the people who inhabit these post nuclear worlds have been synthesized with the former cultural hegemony of a nuclear society. R.D. Mullen makes note that when some people read Riddley Walker, it is an easy mistake to think that the narrative voice is a robot or a computer (Mullen 383).
Hegel’s writings on the genesis of the dialectic reveal that when a new cultural dialogue is born it is the exhaust of the combustion of two ideas in synthesis. Riddley Walker routinely and unwittingly employs the language leftover from the dialectical fusion of atomic technology and human history. It is no mistake that Riddley says he is programmed to find Lissener, or that “counting clevverness” is the process by which artificial intelligence is enabled, for his history is that of our own drawn to its most violent and destructive conclusion via technology (Hoban 77).
Many recycled shreds of our lost culture are unwittingly employed by both Riddley and the monks of Leibowitz who indicate knowledge that such things as airplanes and televisions could have existed; it is that they simply lack the imagination and technology to realize what had brought about such paradigms of invention. In “Fiat Lux,” Thon Taddeo is flabbergasted by the concept that the same illiterate people who live in hovels are the descendants of our own superior culture. The symbols used in each vision of the future reflect the dynamic nature of symbols, but it is humanity, like the machines they create, who are unable to change from their seemingly innate skill for organizing and exploiting bodies of knowledge for political purposes. For both authors, humanity itself seems to be most static aspect history, enabling the cycles of history. Each cast of characters have no idea what an airplane or a television is, but both know that they signify the unquantifiable imagination of a civilization literally crushed under the weight of its own invention. The union of technological aphorisms and colloquial speech is the synthesis of our culture and the dialectic of the future.Continued on Next Page »
Asimov, Isaac, Martin H. Greenberg, and Patricia Warrick, Eds. Machines That Think: The Best Science Fiction Stories About Robots and Computers. New York: Holt, Rinehart and Winston, 1984.
A comprehensive anthology of the short stories that specifically deal with the impact that technology and artificial intelligence has had on the development of Science Fiction in the twentieth century. Some of Miller’s short stories are reproduced, illustrating the profound affect that artificial intelligence had on the author, predicting for several of the most startling revelations to be found in Canticle. In particular, Miller’s short story “I made you” (1953) addresses the relationship between a man and a wayward machine possessing intelligence. Also featured as a companion text to Miller’s work is Harlan Ellison’s “I Have No Mouth, and I must Scream” (1967)
Bennet, Walker. “The Theme of Responsibility in Miller’s A Canticle for Leibowitz.” English Journal 51 (April 1970), [484-489]
A short article that examines the importance of morality and choice in Miller’s novel, and how that morality is manifest in both religious and secular characters in the course of the story. It does not address “choice” as a possible component of the “dialectic.”
Brians, Paul. Nuclear Holocausts: Atomic War in Fiction. Kent, Ohio: The Kent State University Press, 1987.
Brians maintains that Miller’s novel, among others produced in the nuclear age, is a direct action to philosophically address the implications of a nuclear catastrophe in modern culture. The importance of survival, as a historical necessity in prolonging human life following a nuclear catastrophe, adds a unique ecological perspective on the ‘arid irradiated desert’ in which Miller’s future history takes place.
Dowling, David. Fictions of Nuclear Disaster. Iowa City: University of Iowa Press, 1987.
Dowling’s book is a survey of modern fiction concerned with nuclear weapons and the effect that such technology may have on the fate of humanity. He gives due credit to the concepts of the ‘cyclical’ history and artificial intelligence as players upon the modern nuclear stage. Most important is the chapter “Two Exemplary Fictions” in which Canticle and Riddley Walker are discussed as the capstones of the ‘post nuclear genre.’
Fried, Lewis. “A Canticle for Leibowitz: A Song for Benjamin.” Extrapolation 42, (Winter 2001) Kent State University Press, Ohio [362-373]
An astute treatment of Miller’s novel focusing primarily on the religious symbolism and the latent stereotypes of the Semitic characters present therein. Contextualizes Miller’s novel as morosely Christian, and only pays lip service to Riddley Walker as an interesting companion text.
Hegel, Georg. The Essential Writings Ed. by Frederick G. Weiss. New York: Harper Torchbooks, 1974
This is the best compilation in English of Hegel’s theories and methods. This is a crucial text for the understanding of Hegel’s role in the discourse of philosophy and the impact that he has had upon the philosophical community at large. Therein, the Phenomenology of the Spirit and Verstand are reproduced, detailing the philosophical constructs of the thesis, antithesis, and synthesis that make up the process of the historical dialectic. Also included is a treatise “With What Must Science Begin?” that takes into account rational and spiritual conventions as competing ideologies within historical dialectic of humanity.
Hoban, Russell. Riddley Walker 1980 Rpt. First Indiana University Press Ed. 1998
Herbert, Gary B. “The Hegelian ‘Bad Infinite’ in Walter Miller’s A Canticle for Leibowitz.” Extrapolation: 31 (Summer 1990), [160-169]
Herbert’s essay finds many examples of competing ideologies within Canticle that ‘define’ as much as they disdain one another in the process of the dialectic. Herbert’s focus is mostly on the possible negative results of the dialectic (‘Bad Infinite’) rather than on the examination of the dialectical process itself.
Manganello, Dominic. “History as Judgment and Promise in A Canticle for Leibowitz.” Science Fiction Studies 13 (1986), [159-169]
An excellent article that shows how Canticle can be considered a literal history of the future, and how over time a cultural memory has the ability to misappropriate symbols and skew historical dialogues. He illustrates how ‘logos’ is literally up for grabs when spread over several generations of thought and cultural revolution, citing Miller’s Thon Taddeo as the principal player in the historical process of Canticle.
Miller, Walter Jr. A Canticle for Leibowitz. 1959, Rpt. New York: Doubleday, 1997
Miller, Walter Jr. and Martin Greenberg Eds. Beyond Armageddon Copyright Walter
Miller and Martin Greenberg 1985 New York: Primus Press
A thrilling anthology of post-apocalyptic short stories edited and introduced by Walter Miller. Harlan Ellison’s “A Boy and His Dog” is featured and praised by Miller. In the introduction, Miller takes ample space explaining his disgust with the modern nuclear nation, how language barriers only exasperate political tension, and how art is an important diversion to hawkish politics.
Mullen, R.D. “Dialect, Grapholect, and Story: Russell Hoban’s Riddley Walker as Science Fiction.” Science Fiction Studies 27 (November 2000) [381-417]
An extensive exploration of “Riddleyspeak’ and the linguistic trends that unify the language employed in the novel. Also highlights contrasting points of view from other science fiction authors (notably Norman Spinrad who wrote an introduction to Canticle in one of its reprints) Extremely useful in decoding Riddleyspeak, as well as in showing how language is the signifying article of the ongoing historical process.
Mustazza, Leonard. “Myth and History in Russell Hoban’s Riddley Walker” Studies in
Contemporary Fiction 31 (Fall 1989), [17-26]
Mustazza expertly illustrates the importance of myth in its relation to history within cultures that are primarily oral in the transmission of cultural information, specifically citing Mircea Eliade’s construction of myth. Mustazza also shows how Riddley’s creation of his own identity through the act of writing, and his decoding of the Eusa myth, illustrates a metamorphosis from an oral culture to a text based culture.
Percy, Walker. “Walker Percy on Walter M Miller Jr’s A Canticle for Leibowitz.” Rediscoveries, ed. David Madden. New York: Crown, 1971, [262-269]
Percy explores the nature of symbols and the importance that they have to the development of Miller’s plot. Also illustrates that because Miller’s novel is a collection of symbols and themes (a novel per se), the text becomes self reflexive with the knowledge that all texts and symbols are transient and open to interpretation.
Porter, Jeffrey. “‘Three Quarks for Muster Mark:’ Quantum Wordplay and Nuclear Discourse in Russell Hoban’s Riddley Walker.” Contemporary Literature 31 1990 [448-69]
Porter contextualizes the importance of nuclear technology and atomic theory within Hoban’s novel and modern examples of literature at large. Also, he keenly illustrates how ‘dialect’ (not the Hegelian dialectic) is a natural process by which language evolves through the development of ‘anti-languages.’ Also, shows how the preservation of texts and the evolution of language in history thematically unite Miller and Hoban as artists.
Rank, Hugh. “Song out of Season: A Canticle for Leibowitz.” Renascence 21 Summer 1969 [313-321]
One of the earliest critical evaluations of Miller’s novel; explaining the importance and groundbreaking nature of Miller’s work, identifying cyclical themes, the importance of a historical consciousness, and the comedic nature of the monks who toil in service to their Christian idealism.
Seed, David. “H.G. Wells and the Liberating Atom” Science Fiction Studies 30 (March, 2003), [33-48]
Along with Warrick’s historical analysis, this article best situates any reader of texts that deal specifically with nuclear weaponry and its associated catastrophes. Specifically outlines how much of the fiction produced after World War II that deals with nuclear war is constructed in the form of ‘future histories.’ Seed outlines the philosophical implications that arise from man’s ability to master the atom, and the effect that this power has had on twentieth century thought, citing many examples in contemporary science fiction.
Seed, David. “Recycling Texts of the Culture: Walter M. Miller’s A Canticle for Leibowitz.” Extrapolation 37 (Fall 1996), [257-271]
This article best articulates the roles that texts and language play in the context of Miller’s novel, by showing that without the ‘memorabilia’ the course of history for this futuristic world would have been very different. Also includes a thorough examination of short stories by Miller (“Dumb Waiter,” among others) that illustrate the popular and recurrent themes of his work: the future of humanity, the soul, and the technology that enables the future and the presence of history.
Senior, W.A. “From Begetting of Monsters: Distortion as Unifier in A Canticle for Leibowitz.” Extrapolation 34 (1993) [329-339]
An excellent article that illustrates the innate tension and ‘distortion’ that arises out of dialogue and linguistic exchange. Most importantly, Senior finds many examples of how misappropriated symbols can have disastrous effects when employed out of context, such as Benjamin’s strange glyphs on the arch-stone and Thon Taddeo’s disgust with his inability to fully decode some of the memorabilia.
Spector, Judith A. “Walter Miller’s “A Canticle for Leibowitz:”A parable of our time?” Midwest Quarterly 22 (1981), [337-345]
A short article that examines how stories set in the future can be used as parodies of our own times. Specifically addresses the folly of nuclear armaments in general, and how Miller’s novel unabashedly attacks the culturally embedded arguments in man’s soul that leads to the development of nuclear weapons.
Sontag, Susan. “The Imagination of Disaster” in Against Interpretation. New York: Farrar, Straus and Giroux 1966.
A very useful article when reading any work in which world wide destruction is the subject matter. Contextualizes the profound impact that violence can have upon artists and the communities in which they live and work. Although not quoted directly, this book is an essential resource for understanding many of the literary methods utilized in describing massive deaths and catastrophic destruction.
Stapledon, Olaf. Last and First Men 1930 Rpt. Dover Publications 2008
Stapledon, Olaf. Philosophy and Living, Vol. 2. London: Penguin, 1939 [304-307]
Explicitly illustrates the importance of the Hegelian dialectic to not only Stapledon as an author and philosopher, but also to writers of cyclical histories in general, as it is widely considered that Stapledon was immensely influential on the entire canon of Science Fiction in the twentieth century. This book serves as the crucial hinge between Hegel’s philosophy of history and the literary experiments in cyclical dialectic histories undertaken by Hoban and Miller.
Wagar, Warren W. Terminal Visions: The Literature of Last Things. Bloomington: Indiana University Press, 1982.
Wagar’s book is an insightful study that contextualizes and explains many of the popular conventions of apocalyptic literature.
Warrick, Patricia S. The Cybernetic Imagination in Science Fiction 1974 Rpt. Massachusetts Institute of Technology Press, Cambridge MA 1980
Aside from Hegel and Stapledon, Warrick’s book is probably the most important critical work for illustrating the historical relevance of nuclear technology, the impact that artificial intelligence has had on the Science Fiction community, and accurately predicting many of the themes and literary constructions found in both Canticle and Riddley Walker; even though neither of the two novels receive mention in the work.
Endnotes
1.) Inspectah Deck is the nom de plume of Staten Island’s Jason Hunter. His lyrical content on the song “Triumph,” which addresses the importance of song in apocalyptic times, has helped to propel the album Wu-Tang Forever (RCA/Loud 1997) to the highest realms of contemporary cultural status, selling over half a million copies in its first week of release.
2.) Dr. Strangelove or: How I Learned to Stop Worrying and Love the Atomic Bomb (1964 Columbia Pictures), based on the novel Red Alert by Peter George, is widely considered to be one of the darkest satirical reflections of Cold War politics and warfare.
3.) The largest storehouse of radioactive waste in the terrestrial western hemisphere: Hanford, Washington.
4.) Hegel and nearly the entire canon of Western philosophy universally define this as the ability to make rational decisions based on empirically/phenomenologically derived data from the mind/senses. When something as catastrophic as the total extinction can be made with a “rational decision,” this faculty of the mind has come under attack by artists, scientists and those associated with politics and religion fervently since the dawn of atomic warfare in the twentieth century.
5.) Georg Hegel (1770-1831) was a German philosopher who was profoundly affected by the French Revolution and the extraordinary figure of Napoleon. His major work The Phenomenology of the Spirit (1807)established him as one of the most important philosophers of the European enlightenment. Therein, the concept and method of the dialectic was originated, outlining the concepts of thesis, antithesis, and synthesis as the basic modes in which competing historical ideologies assumed mastery over one another through the processes of social and political discourse.
6.) “Understanding” A corollary section of Hegel’s Phenomenology of the Spirit, in which the basic tenets of the historical dialectic are imagined and discussed: the apprehension of concepts and the naming thereof as the first crucial step in the process of forming dialectical ideologies that will ultimately be subverted or consumed in the course of history. Hegel and Miller both allude to the story of Genesis, where the serpent promises the knowledge to differentiate between “good” and “evil” to Eve and society.
7.) “Short lyrical song or melody”
8.) The year in which “Fiat Homo” occurs is supposedly the “Year of Our Lord 3174,” which would be the approximate equivalent of our own 1215, the immanence of nuclear war provoking Miller to subtract the 1959 years of civilization that had passed since the first beginning of Western.society. The Year 1215 is a watershed year in Western civilization, not just for the historical artifacts such as Magna Carta, but also what it represents to Miller as a reflection of human history: a time when the Roman Catholic Church was beginning to establish itself, when war, disease and superstition are rampant, and the first lights of the modern rational mind are beginning to twinkle in the arts, sciences and humanities for the first time in the West since the fall of the Roman empire. For Miller, this is where Canticle really begins.
9.) Through the rediscovery and innovation upon the classical humanist arts of Rome and Greece, these three luminaries established the enlightened Western mind and scientific discourses which enabled the development of modern civilization.
10.) Three of the most distinguished atomic scientists of the modern nuclear age, whose united work and distinguished research created the first atomic bombs sewn into the political and social fabric of history. Texts bearing their names, among other scientists, are discovered by Thon Taddeo while rifling through the library of preserved pre-holocaust texts.
11.) See R.D. Mullen’s article “Dialect, Grapholect…” for a comprehensive analysis of “Riddleyspeak.”
12.) Riddleyspeak: “connexion man” (Hoban 53).
13.) Not only is the theatre box one of the oldest forms of entertainment in Western culture, the characters of Punch and Judy show are one of the few puppet shows that have attained celebrity status through centuries of performance in both Europe and America. See Illustration 1 “Punch” (Doherty 2009).
14.) Riddleyspeak: “some poasyum” (Hoban Glossary)
15.) Apart: Sex is moot point in both novels, as Riddley is twelve years old, and the cloistered halls of Leibowitz do not feature any women as protagonist characters. When mentioned at all, conjugation is only featured as a passing reference to motherhood or as a functional component of survival.
16.) The reason for Benjamin’s longevity is never fully revealed by Miller, but Lewis Fried contends that Benjamin is a reflection of the archetypical wandering Jew, commonly found in many thematically religious texts that deal with the Diaspora and its related literature. The Poet muses in “Fiat Lux” that perhaps the consumption of an irradiated blue headed goat’s milk is the secret to eternal life.
17.) Heat Death: An era in the projected history of the universe in which all of the stored fuels and energies found in stars, and other natural phenomenon of the cosmos, achieve equilibrium and no kinetic forces are at work to continue the expansion and modulation of space. The essential feature of Hegelian synthesis is reaching an equilibrium or compromise among competing forces or ideologies.
18.) Lat. “Thinking Machine”
19.) “Sulfur,” which is known as “yellow stoans” in the world of Riddley Walker is the volatile element which has a sickly yellow pallor and scent, is one of the three essential ingredients of gunpowder. The “1 Big 1” or “atom bomb,” is the abstract goal of he characters in Riddley Walker that seek power. (Hoban, Riddley Walker, included glossary in Kent State Edition.)
20.) “Fiat Voluntas Tua”
21.) The mysterious hypothetical origin of the universe, in which all of the matter found in the cosmos was suddenly created and sown outwards into space-time.
22.) See Illustration 2 “The Arch of Brother Francis” Doherty 2009
23.) “Dog Eat Dog”
24.) The Terminator, (1984 Orion Pictures), Terminator II: Judgment Day (1991 Metro-Goldwyn Mayer), and Terminator III: Rise of the Machines (2003 Warner Bros.)Dir. James Cameron, Jonathon Mostow
25.) The Watchmen (2009 Fox/Warner Brothers Pictures and Distribution) directed by Zack Snyder, based on the original graphic novel The Watchmen by Alan Moore and David Gibbons, DC Comics 1987
26.) Jemaine Clement and Bret McKenzie, “The Humans are Dead,” featured on The Flight of the Conchords’ The Distant Future (Sub Pop 2007) Best viewed at: http://www.youtube.com/watch?v=WGoi1MSGu64
