Það virðist samt ekki vera.. Úr CJ viðtalinu:
DEPPEY: In an interview that you did for a website called Pop Culture Shock, you equated the basic concept behind Fables to the Jewish Diaspora; you've got characters who originally lived in the Land of Fable and then a great adversary rose up and drove them out, and now they kind of live in little ghettos in pockets around our world. I'm wondering if that was an intentional building block from the beginning, or did the metaphor rise up over time as you developed the concept?
WILLINGHAM: No, that was there from the beginning. As I said, I was raised in a pretty conservative family. My parents were both Scoop Jackson Democrats, which by today's standard would make them, you know, horrid old conservative Republicans. The other aspect of that was that my mother, for reasons that still I do not understand, was rabidly pro-Israel. The only big trip she even wanted to take in her life but she never got to was to go to Israel, and I didn't understand it as a kid, but growing up, the whole story of how the modern nation came about with the partition and the wars and all that -- and just this whole story of the tiny little country with being surrounded on all sides by these vast, vast nations dedicated to its extinction -- I guess it appealed to my mother's sense of "root for the underdog" and if there's any underdog in this world, Israel's it. So I think I just absorbed my mother's love of Israel. Politically, I'm just rabidly pro-Israel and so that, as a metaphor, was intended from the beginning. As a matter of fact, since this interview will be coming out after issue #50, there's a scene in which it's actually stated as fact that Fabletown's battle against the vast Empire, the Adversary, is very much like Israel against the Arab nations. A scrappy little country full of stiff-necked bastards who, the only way we're gonna protect our existence is to make sure that anytime you do anything bad to us, we're going to make you pay horribly. I use that as a formal analogy for the existence of Fabletown and their relationships to the Empire. So that's a roundabout way of saying that yes, that was in there purposely.
Ég fann ekki Pop Culture Shock viðtalið, en það er sosum ekki erfitt að misskilja spurninguna, þótt svarið sé afdráttalaust. Ákveðinn hópur af fólki á heima á ákveðnum stað, svo kemur eitthvert stærra afl og rekur hann út, svo hann dreifist í hin og þessi gettó. Hvort á þetta við um gyðinga í seinni heimsstyrjöldinni eða Palestínumenn í kjölfar stofnun Ísraelsríkis?
Ég er aðallega að tíunda þetta hér vegna þess að mér hefði þótt hin túlkunin áhugaverðari, einmitt vegna þess að Bigby setur pro-Ísrael líkinguna fram í beinum orðum í 9. bók. Þar hefði hann getað verið að draga sínar hliðstæður útfrá týpísku Kana-sjónarmiði (einosg Davíð minntist á þá er Bigby réttur og sléttur Bandarískur heimsvaldasinni) en lesandinn gæti spurt sig hvort sú líking væri réttlætanleg. Hann getur það auðvitað ennþá en það er ósköp leiðinlegt að fá staðfestingu á því að stóri Bandaríski úlfurinn sé (amk. í þessu tilfelli) málpípa höfundar.
Maður spyr sig hvað komi í ljós ef maður reynir að finna frekari hliðstæður milli sögunnar og Ísrael/Palestínu (eða frekar allra hinna miðausturlandanna, einsog Willingham virðist meina), framyfir landflutningana. Þegar Fables liðið fer að slá á móti tildæmis, eða allt það sem gerist í 11. bók? Hver er Andstæðingurinn og hver er Keisarinn? Hver er góði prinsinn? Eða byrjar samlíkingin og endar innan þess sem Bigby ræðir í 9. bók?
-b.
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