I have to admit that before receiving these three publications I had only a vague idea of what a "chapbook" might be (and that was rather inaccurate). For those as much in the dark as I was, the summary from Wikipedia might be useful:
"The term chap-book was formalized by bibliophiles of the 19th century, as a variety of ephemera (disposable printed material), popular or folk literature. It includes many kinds of printed material such as pamphlets, political and religious tracts, nursery rhymes, poetry, folk tales, children's literature and almanacs. Where there were illustrations, they would be popular prints. The term is derived from chapmen, a variety of peddler, who circulated such literature as part of their stock. The term is also in use for present-day publications, usually poetry, of up to about 40 pages, ranging from low-cost productions to expensive, finely produced editions."
Nightjar Press specialises in the publication of limited-edition modern chapbooks, each containing one short story from the fantasy or related genres. All three of the ones I received are very short (the text of the actual stories occupying between 7 and 15 pages) but are well produced on high quality paper with card covers adorned by purpose-designed colour images. They can be obtained direct from the publishers (details on their website).
A Revelation of Cormorants by Mark Valentine: a writer engaged in producing a book about the folklore associated with birds rents a cottage on a remote coast and becomes dangerously fascinated by the cormorants.
Field by Tom Fletcher: a Forestry Commission warden sets out to evict some illegal campers but finds that the situation is not what it seemed and is becoming steadily stranger.
Lexicon by Christopher Burns: related from the viewpoint of an enigmatic man who invites women to his remote house for a purpose with origins in Greek mythology.
All three are well-written, high-quality stories. I am not quite sure where they would fit into most people's book-buying patterns, though, since anthologies or magazines provide a wider choice at less cost. I suspect that given their limited publication run these are aimed at collectors as much as readers.
Friday, 22 April 2011
Friday, 15 April 2011
Film: I, Robot (2004)
It's more than four decades since I read Asimov's robot stories and I have forgotten everything about them (except for the three laws of robotics, of course). So I approached this film with an open mind and no expectations; probably just as well, since I noted the comment afterwards that I, Robot was "inspired by" Asimov's stories, rather than directly based on them.
The film is set in Chicago in 2035, with large numbers of humanoid robots being used throughout society. They are all produced by U.S. Robotics (USR) which also maintains a supercomputer (VIKI: Virtual Interactive Kinetic Intelligence) which is able to communicate with, and change the programming of, the latest and most sophisticated generation of robots, designated NS-5. There is no public concern over the robots as their behaviour is governed by the three laws of robotics: that robots must not harm a human being; that robots must obey humans unless this conflicts with the first law; and that robots must preserve themselves unless this conflicts with the first two laws.
Del Spooner (Will Smith) is a detective with a deep mistrust of robots due to an accident which almost cost him his life. He is called to the apparent suicide of Alfred Lanning, the chief scientist of USR and the man who had restored Spooner using prosthetics. Lanning had left behind a trail of clues concerning his death in the form of appearances via a holographic projector. Spooner investigates his death with the reluctant assistance of Dr Susan Calvin, a "robopsychologist" working for USR (Bridget Moynahan), and he soon suspects one of the new NS-5 robots found at the scene. This robot, which calls itself Sonny, exhibits unexpectedly human characteristics, including emotions, and Calvin discovers that it has an additional brain making it possible for the robot to override the three laws.
Meanwhile, Spooner finds himself under threat from various types of USR robots, being attacked several times. His suspicions focus on the CEO of USR, who tries to thwart his investigations for fear that they would interfere with the planned major roll-out of NS-5 robots. The pace ramps up as Spooner and Calvin try to stop impending disaster.
This is principally an action movie but it also raises what will become genuine issues concerning the relationships between humanity and artificial intelligences as computers increase in sophistication. As such, it is more realistic than most SF films as the basic premise that such sophisticated AIs might exist by 2035 seems not impossible, given current progress. It isn't one of the great SF films (the plot is too routine for that) but is better than most, despite a rather puzzling and apparently inconsistent ending. Overall, a good thriller with Smith and Moynahan putting in effective performances.
The film is set in Chicago in 2035, with large numbers of humanoid robots being used throughout society. They are all produced by U.S. Robotics (USR) which also maintains a supercomputer (VIKI: Virtual Interactive Kinetic Intelligence) which is able to communicate with, and change the programming of, the latest and most sophisticated generation of robots, designated NS-5. There is no public concern over the robots as their behaviour is governed by the three laws of robotics: that robots must not harm a human being; that robots must obey humans unless this conflicts with the first law; and that robots must preserve themselves unless this conflicts with the first two laws.
Del Spooner (Will Smith) is a detective with a deep mistrust of robots due to an accident which almost cost him his life. He is called to the apparent suicide of Alfred Lanning, the chief scientist of USR and the man who had restored Spooner using prosthetics. Lanning had left behind a trail of clues concerning his death in the form of appearances via a holographic projector. Spooner investigates his death with the reluctant assistance of Dr Susan Calvin, a "robopsychologist" working for USR (Bridget Moynahan), and he soon suspects one of the new NS-5 robots found at the scene. This robot, which calls itself Sonny, exhibits unexpectedly human characteristics, including emotions, and Calvin discovers that it has an additional brain making it possible for the robot to override the three laws.
Meanwhile, Spooner finds himself under threat from various types of USR robots, being attacked several times. His suspicions focus on the CEO of USR, who tries to thwart his investigations for fear that they would interfere with the planned major roll-out of NS-5 robots. The pace ramps up as Spooner and Calvin try to stop impending disaster.
This is principally an action movie but it also raises what will become genuine issues concerning the relationships between humanity and artificial intelligences as computers increase in sophistication. As such, it is more realistic than most SF films as the basic premise that such sophisticated AIs might exist by 2035 seems not impossible, given current progress. It isn't one of the great SF films (the plot is too routine for that) but is better than most, despite a rather puzzling and apparently inconsistent ending. Overall, a good thriller with Smith and Moynahan putting in effective performances.
Friday, 8 April 2011
Interzone 233
The March-April 2011 issue of the British SFF magazine hit my doormat recently. The review section is as informative as ever, this time featuring an interview by Jim Steel of Paolo Bacigalupi, whose first novel The Windup Girl has been steadily collecting awards. The review of the novel which accompanied this left me somewhat unconvinced as to whether I would read it, though - I have no enthusiasm for future dystopias, they seem all too likely to happen. Among the other book reviews, The Hammer by K.J. Parker caught my eye. I've not read any of her books, but the description of her writing in general and this work in particular is enough to put it on my (long) shopping list.
The film and DVD releases section also had me reaching for my notepad. Too soon for the failed but intriguing BBC TV serial Outcasts to feature here (the reviewers wait until the DVDs are on sale), but the film Skyline sounds promising, as does a DVD release of a 2002 British film, The Gathering. The film Never Let Me Go has generated a lot of publicity but the plot summary doesn't appeal to me.
There are only four instead of the usual six short stories this time, since the first one is a novella by Nina Allen, accompanied by a column describing her impressively varied work.
The Silver Wind, by Nina Allen (illustrated by Ben Baldwin). A future in which Britain has elected a right-wing government, resulting in the formation of a police state and the ejection of all non-whites from the country. This is the kind of depressing scenario which doesn't appeal to me and usually sets up a "brave defiance by principled hero" plot, but this author handles it in a more subtle and intriguing fashion. She focuses on a conformist property agent who doesn't question the status quo (it all happened long ago) but who becomes fascinated by the history of a clock made by a talented dwarf, Owen Andrews. He manages to locate and visit Andrews in a remote part of London, separated by a new and dangerously inhabited forest from the main city, and learns of experiments concerning time which are taking place in an old hospital nearby, and their sometimes horrific results. He is captured after becoming lost in the forest and is taken to the hospital, where he finds that there is an alternative to the existing paradigm. An engaging story.
Tell Me Everything by Chris Butler. An alternative Earth in which everyone constantly emits clouds of spores which can be detected by other people nearby and allows them to assess each other's status and mood; effectively not unlike telepathy. A police detective trying to solve a difficult case finds a use for a man suffering from a rare affliction: he emits no spores at all.
Tethered to the Cold and Dying by Ray Cluley (illustrated by Paul Drummond). Two survivors on an almost deserted station on a frozen world are surprised by the arrival of a stranger with a story to tell. This prompts one of them to go on a cross-country hike to find the space elevator which is said to be still functioning, in an attempt to escape their isolation.
Crosstown Traffic by Tim Lees (illustrated by Russell Morgan). Various different alien races live alongside humans on Earth. The story features a young human employed by an alien to to take a valuable package across town; one which attracts a great deal of attention on the way, with a surprising outcome.
Nina Allen's story is certainly the stand-out one from this group, I enjoyed her fantastical take on an unpromising scenario.
The film and DVD releases section also had me reaching for my notepad. Too soon for the failed but intriguing BBC TV serial Outcasts to feature here (the reviewers wait until the DVDs are on sale), but the film Skyline sounds promising, as does a DVD release of a 2002 British film, The Gathering. The film Never Let Me Go has generated a lot of publicity but the plot summary doesn't appeal to me.
There are only four instead of the usual six short stories this time, since the first one is a novella by Nina Allen, accompanied by a column describing her impressively varied work.
The Silver Wind, by Nina Allen (illustrated by Ben Baldwin). A future in which Britain has elected a right-wing government, resulting in the formation of a police state and the ejection of all non-whites from the country. This is the kind of depressing scenario which doesn't appeal to me and usually sets up a "brave defiance by principled hero" plot, but this author handles it in a more subtle and intriguing fashion. She focuses on a conformist property agent who doesn't question the status quo (it all happened long ago) but who becomes fascinated by the history of a clock made by a talented dwarf, Owen Andrews. He manages to locate and visit Andrews in a remote part of London, separated by a new and dangerously inhabited forest from the main city, and learns of experiments concerning time which are taking place in an old hospital nearby, and their sometimes horrific results. He is captured after becoming lost in the forest and is taken to the hospital, where he finds that there is an alternative to the existing paradigm. An engaging story.
Tell Me Everything by Chris Butler. An alternative Earth in which everyone constantly emits clouds of spores which can be detected by other people nearby and allows them to assess each other's status and mood; effectively not unlike telepathy. A police detective trying to solve a difficult case finds a use for a man suffering from a rare affliction: he emits no spores at all.
Tethered to the Cold and Dying by Ray Cluley (illustrated by Paul Drummond). Two survivors on an almost deserted station on a frozen world are surprised by the arrival of a stranger with a story to tell. This prompts one of them to go on a cross-country hike to find the space elevator which is said to be still functioning, in an attempt to escape their isolation.
Crosstown Traffic by Tim Lees (illustrated by Russell Morgan). Various different alien races live alongside humans on Earth. The story features a young human employed by an alien to to take a valuable package across town; one which attracts a great deal of attention on the way, with a surprising outcome.
Nina Allen's story is certainly the stand-out one from this group, I enjoyed her fantastical take on an unpromising scenario.
Friday, 1 April 2011
The Lure by Bill Napier
The Lure was first published in 2002, and is Bill Napier's fourth novel. The time is the present and the action starts in a vast underground lake beneath Slovakia's Tatra mountains. This has been comprehensively instrumented for an Anglo-Soviet research project aimed at detecting traces of the elusive Dark Matter particles passing through it. After several years of zero results, the three scientists who are monitoring the project are astonished when the lake is suddenly swamped by an intense storm of particles, then even more amazed when they detect what appears to be a coherent pattern in the storm. To help analyze this phenomenon they recruit two more specialists who confirm that the pattern is real, can only be the product of an advanced intelligence and contains hugely valuable scientific information: it is a message from the stars, aimed at humanity.
The scientists are ready to announce their momentous discovery to the world, but their national leaders are becoming anxious. What if the message is a lure by some malign intelligence, designed to prompt a response which would lead to the annihilation of any species which might be able to threaten the message-senders? The scientists slowly realise that not only is their announcement being blocked but their lives are in danger.
The US government discovers what is happening, and some of the most intriguing passages are the intense debates at the highest level concerning how to react: whether to make a public announcement of the event and respond to the message; or to make use of the information without responding; or to kill the whole story and everyone involved with it in order to prevent anyone responding. Being the USA, religion gets involved but so do some interesting arguments concerning the probability of an advanced civilisation being hostile or friendly. Interleaved with these chapters are gripping scenes of a relentless manhunt across a winter landscape as the scientists desperately try to survive and get their message out.
The book's cover draws a comparison with The Da Vinci Code but this does it a great disservice. The author is a professional astronomer, and it shows: the technical aspects of the plot are authoritative and the debates thoroughly convincing. The conclusion concerning the nature and purpose of the message is fascinating. At first I thought the writing style a little clunky but before long was thoroughly engrossed in the story. The tension ramps up steadily and I read the second half in one sitting - I really couldn't put it down.
Interestingly, the book is not marketed as SF but simply as a "thriller". Possibly this is because the emphasis of the story is not on the aliens and their message but on the human response to receiving it. Frankly, I don't care what they call it; it is one of the most thoughtful, realistic and exciting first contact novels I've ever read. I can't recommend it too highly, and my next task is to track down copies of the author's other books.
The scientists are ready to announce their momentous discovery to the world, but their national leaders are becoming anxious. What if the message is a lure by some malign intelligence, designed to prompt a response which would lead to the annihilation of any species which might be able to threaten the message-senders? The scientists slowly realise that not only is their announcement being blocked but their lives are in danger.
The US government discovers what is happening, and some of the most intriguing passages are the intense debates at the highest level concerning how to react: whether to make a public announcement of the event and respond to the message; or to make use of the information without responding; or to kill the whole story and everyone involved with it in order to prevent anyone responding. Being the USA, religion gets involved but so do some interesting arguments concerning the probability of an advanced civilisation being hostile or friendly. Interleaved with these chapters are gripping scenes of a relentless manhunt across a winter landscape as the scientists desperately try to survive and get their message out.
The book's cover draws a comparison with The Da Vinci Code but this does it a great disservice. The author is a professional astronomer, and it shows: the technical aspects of the plot are authoritative and the debates thoroughly convincing. The conclusion concerning the nature and purpose of the message is fascinating. At first I thought the writing style a little clunky but before long was thoroughly engrossed in the story. The tension ramps up steadily and I read the second half in one sitting - I really couldn't put it down.
Interestingly, the book is not marketed as SF but simply as a "thriller". Possibly this is because the emphasis of the story is not on the aliens and their message but on the human response to receiving it. Frankly, I don't care what they call it; it is one of the most thoughtful, realistic and exciting first contact novels I've ever read. I can't recommend it too highly, and my next task is to track down copies of the author's other books.
Friday, 25 March 2011
Brasyl by Ian McDonald
This book was first published in 2007 and attracted glowing reviews plus several award nominations, being voted novel of the year by the British Science Fiction Association in 2008. My copy had been sitting on my bookshelf for a while, so I selected it as one of the reads for the Classic Science Fiction discussion group, which despite its title considers one new as well as one old book each month, plus a short story a week.
Brasyl has three plot threads which remain separate for much of its length, the only immediately obvious link being that they are all set in Brazil. The main thread is set in 2006 and follows the fortunes of Marcelina Hoffman, an unprincipled TV producer working on the next exploitative programme for her trashy TV channel. Another is set in 2032, a time of quantum computers and total surveillance, in which Edson Jesus Oliveira de Freitas, a small-time cross-dressing operator on the fringe between legitimate business and the criminal underworld, tries to make his fortune. The third goes back to 1732, when an Irish Jesuit admonitor, Father Quinn, is despatched up the Amazon to locate and bring back another Jesuit priest who has established his own empire there. The chapters rotate between the threads, carrying the stories along together.
The writing is of high quality with the Brazilian settings, old and new, obviously well researched and richly portrayed, but nevertheless I found this a difficult book to get into. One problem was that the multiplicity of secondary characters confused me - I kept losing track of who was who - as did the fact that the text is liberally sprinkled with Brazilian terms. There is a glossary at the back but I found that on most of the occasions when I referred to it, the word I wanted to clarify wasn't there. As a result I was never entirely on top of the action but was always struggling to keep up.
The first half of the book was therefore hard going, particularly since there is nothing particularly science-fictional about it except for the setting of the 2032 thread. If it hadn't been my selection for the discussion group, I might not have persevered. But I felt honour-bound to keep going, so I slogged on and was eventually rewarded as the action picks up in the second half. Links begin to appear between the threads, including "quantum knives" which can cut through anything, and an eternal battle between two shadowy organisations is gradually revealed in a way which will delight all conspiracy theorists. The climax, concerning the nature of our reality, is as ambitious as any SF reader could want.
In the end it was worth the read but, as with so many critically-acclaimed modern SF novels, I found that I admired it rather than really enjoyed it. The emphasis in the first half of the book on literary quality, on slowly developing the characters and their environments, robs it of the pace and tension which characterise the kind of stories I enjoy the most.
Brasyl has three plot threads which remain separate for much of its length, the only immediately obvious link being that they are all set in Brazil. The main thread is set in 2006 and follows the fortunes of Marcelina Hoffman, an unprincipled TV producer working on the next exploitative programme for her trashy TV channel. Another is set in 2032, a time of quantum computers and total surveillance, in which Edson Jesus Oliveira de Freitas, a small-time cross-dressing operator on the fringe between legitimate business and the criminal underworld, tries to make his fortune. The third goes back to 1732, when an Irish Jesuit admonitor, Father Quinn, is despatched up the Amazon to locate and bring back another Jesuit priest who has established his own empire there. The chapters rotate between the threads, carrying the stories along together.
The writing is of high quality with the Brazilian settings, old and new, obviously well researched and richly portrayed, but nevertheless I found this a difficult book to get into. One problem was that the multiplicity of secondary characters confused me - I kept losing track of who was who - as did the fact that the text is liberally sprinkled with Brazilian terms. There is a glossary at the back but I found that on most of the occasions when I referred to it, the word I wanted to clarify wasn't there. As a result I was never entirely on top of the action but was always struggling to keep up.
The first half of the book was therefore hard going, particularly since there is nothing particularly science-fictional about it except for the setting of the 2032 thread. If it hadn't been my selection for the discussion group, I might not have persevered. But I felt honour-bound to keep going, so I slogged on and was eventually rewarded as the action picks up in the second half. Links begin to appear between the threads, including "quantum knives" which can cut through anything, and an eternal battle between two shadowy organisations is gradually revealed in a way which will delight all conspiracy theorists. The climax, concerning the nature of our reality, is as ambitious as any SF reader could want.
In the end it was worth the read but, as with so many critically-acclaimed modern SF novels, I found that I admired it rather than really enjoyed it. The emphasis in the first half of the book on literary quality, on slowly developing the characters and their environments, robs it of the pace and tension which characterise the kind of stories I enjoy the most.
Friday, 18 March 2011
Outcasts (BBC TV)
This eight-part serial has now finished, so as promised I'll sum up. To refresh your memories, I'll include some of what I said after the first two episodes.
The scenario is far enough into the future for humanity to have developed huge starships, one of which had managed to establish a colony on the distant planet of Carpathia (named after the ship which rescued survivors of the Titanic disaster) some fifteen years before. The name is significant as civilisation on Earth is collapsing, and the last starship is due to arrive.
Almost all of the 70,000 humans are concentrated in one walled settlement, Forthaven. The president (Liam Cunningham) aided by the head of security (Hermione Norris, who famously played a formidable MI5 agent in Spooks) try to hold the line while preparing for the arrival of the starship. All is not well, as the ship has suffered some damage which threatens disaster if it tries to land on the planet, so it launches an escape pod to ensure that some survive.
All is not well on Carpathia, either, as the team of explorers who spend most of their time away from the settlement are planning a rebellion. Just to complicate matters further, there is a band of renegade artificial humans (advanced cultivars, or ACs) in the wild, rejected by the settlement years before, with whom there is intermittent but bitter conflict.
The focus is very much on the human drama and the acting is initially variable (Norris being the stand-out performer) with some of the dialogue sounding stiff and awkward; a perennial screen-SF problem. This seemed to get better as the serial progressed, or perhaps I just got used to it. Also developing through the serial was the role and relationship of two of the internal security officers, played by Daniel Mays and Amy Manson.
I was amused to note that the one clear villain - the former head of the evacuation programme (played by Eric Mabius), who arrives on the escape pod and immediately starts to worm his sly and manipulative way up Carpathia's hierarchy - is constantly criticised for bringing religion to the secular colony and cynically using this as his vehicle for building a power base. I suspect this might not go down too well in some markets…
The SF elements are initially weak, and by the half-way stage I was ready to dismiss it as a soap opera with a few unusual plot elements in a mildly exotic setting. It is a puzzle to work out what everyone does or how they live, as the town is surrounded by wasteland and hardly anyone ever goes outside the walls. The discovery of natural diamonds lying around to be picked up is acceptable, but the fact that they are mysteriously gem-cut rather than in the rough is not. However, the background music is worth a mention as it is one of the strong points. It reaches elegaic heights, powerfully reinforcing moments of high drama. Intriguingly, the more stacatto music used to accompany action scenes is very reminiscent of similar music in Spooks.
The second half of the serial contains a lot more science-fictional mystery, although it frequently doesn't seem to make sense. First comes the discovery of fossils of early hominim remains, despite the fact that there is no other animal life on the planet - just plants and insects (I still don't understand that: hominims dying out, sure, but they would only have been the tip of an enormous pyramid of animal life - did that all die out? We are not told). This is accompanied by hints from one of the first men on the planet, who has been living rough in the wild, that the planet did not want humans there. Then people begin to report seeing loved ones they know to be dead, a convincing duplicate of one of the explorers appears (the fact that this duplicate is clearly solid, whereas others appear and disappear instantly, remains unexplained), a mysterious disease strikes and it becomes clear that the colony is facing a deadly but hidden threat. Meanwhile, a further and unsuspected starship secretly approaches Carpathia with malevolent intentions.
By the start of the final episode I was wondering how all of the plot threads, both human and alien, could possibly be resolved in just one hour. The answer is that they weren't; it ends on a huge multiple cliff-hanger, the point of maximum crisis for the whole story so far, evidently lining everything up for a second serial. This would be fine if a sequel was coming along soon, but the viewing figures were disappointing and the BBC announced immediately after the finale that the planned second serial had been cancelled. So, rather frustratingly, we will never know the answers to the many questions.
Why did it fail? I think it was too adult and slow-paced to appeal to the usual Doctor Who/Primeval band of TV SFF followers, while containing too many unexplained inconsistencies to satisfy more mature SF fans (a nit-picking lot, we are). And of course, few people who are not SF fans bother to watch any SF programmes unless they are so good that they transcend the usual genre prejudice barrier.
Outcasts is easy to poke holes in, but I found I had become strangely attached to it and will miss my weekly visits to Carpathia. Despite a slow start and the unexplained inconsistencies, it had managed to get its hooks into me.
The scenario is far enough into the future for humanity to have developed huge starships, one of which had managed to establish a colony on the distant planet of Carpathia (named after the ship which rescued survivors of the Titanic disaster) some fifteen years before. The name is significant as civilisation on Earth is collapsing, and the last starship is due to arrive.
Almost all of the 70,000 humans are concentrated in one walled settlement, Forthaven. The president (Liam Cunningham) aided by the head of security (Hermione Norris, who famously played a formidable MI5 agent in Spooks) try to hold the line while preparing for the arrival of the starship. All is not well, as the ship has suffered some damage which threatens disaster if it tries to land on the planet, so it launches an escape pod to ensure that some survive.
All is not well on Carpathia, either, as the team of explorers who spend most of their time away from the settlement are planning a rebellion. Just to complicate matters further, there is a band of renegade artificial humans (advanced cultivars, or ACs) in the wild, rejected by the settlement years before, with whom there is intermittent but bitter conflict.
The focus is very much on the human drama and the acting is initially variable (Norris being the stand-out performer) with some of the dialogue sounding stiff and awkward; a perennial screen-SF problem. This seemed to get better as the serial progressed, or perhaps I just got used to it. Also developing through the serial was the role and relationship of two of the internal security officers, played by Daniel Mays and Amy Manson.
I was amused to note that the one clear villain - the former head of the evacuation programme (played by Eric Mabius), who arrives on the escape pod and immediately starts to worm his sly and manipulative way up Carpathia's hierarchy - is constantly criticised for bringing religion to the secular colony and cynically using this as his vehicle for building a power base. I suspect this might not go down too well in some markets…
The SF elements are initially weak, and by the half-way stage I was ready to dismiss it as a soap opera with a few unusual plot elements in a mildly exotic setting. It is a puzzle to work out what everyone does or how they live, as the town is surrounded by wasteland and hardly anyone ever goes outside the walls. The discovery of natural diamonds lying around to be picked up is acceptable, but the fact that they are mysteriously gem-cut rather than in the rough is not. However, the background music is worth a mention as it is one of the strong points. It reaches elegaic heights, powerfully reinforcing moments of high drama. Intriguingly, the more stacatto music used to accompany action scenes is very reminiscent of similar music in Spooks.
The second half of the serial contains a lot more science-fictional mystery, although it frequently doesn't seem to make sense. First comes the discovery of fossils of early hominim remains, despite the fact that there is no other animal life on the planet - just plants and insects (I still don't understand that: hominims dying out, sure, but they would only have been the tip of an enormous pyramid of animal life - did that all die out? We are not told). This is accompanied by hints from one of the first men on the planet, who has been living rough in the wild, that the planet did not want humans there. Then people begin to report seeing loved ones they know to be dead, a convincing duplicate of one of the explorers appears (the fact that this duplicate is clearly solid, whereas others appear and disappear instantly, remains unexplained), a mysterious disease strikes and it becomes clear that the colony is facing a deadly but hidden threat. Meanwhile, a further and unsuspected starship secretly approaches Carpathia with malevolent intentions.
By the start of the final episode I was wondering how all of the plot threads, both human and alien, could possibly be resolved in just one hour. The answer is that they weren't; it ends on a huge multiple cliff-hanger, the point of maximum crisis for the whole story so far, evidently lining everything up for a second serial. This would be fine if a sequel was coming along soon, but the viewing figures were disappointing and the BBC announced immediately after the finale that the planned second serial had been cancelled. So, rather frustratingly, we will never know the answers to the many questions.
Why did it fail? I think it was too adult and slow-paced to appeal to the usual Doctor Who/Primeval band of TV SFF followers, while containing too many unexplained inconsistencies to satisfy more mature SF fans (a nit-picking lot, we are). And of course, few people who are not SF fans bother to watch any SF programmes unless they are so good that they transcend the usual genre prejudice barrier.
Outcasts is easy to poke holes in, but I found I had become strangely attached to it and will miss my weekly visits to Carpathia. Despite a slow start and the unexplained inconsistencies, it had managed to get its hooks into me.
Saturday, 12 March 2011
Films: Iron Man (2008) and Iron Man 2 (2010)
I seem to be working through superhero movies at the moment, even though I'm not a fan of the genre and scarcely looked at any comics even in my youth, let alone since. However, good ones do make for stress-free undemanding entertainment and there have been some critically acclaimed examples recently, among them the Iron Man films.
Robert Downey plays Tony Stark, the womanising engineer/genius inventor head of a major armaments firm, who is injured and captured by terrorists in Afghanistan and held for three months, supposedly working on a weapon for them. In fact, he is building a prototype powered armoured suit with which he escapes, but he has been changed by his ordeal and decides to stop making armaments. Back home, he is opposed by Obadiah Stane (Jeff Bridges), his deputy, but supported by his adoring assistant, Pepper Potts (Gwyneth Paltrow). He works on perfecting his powered, flying and fighting suit, using an "arc reactor" of his own invention to provide almost limitless power. With this, he returns to Afghanistan to take on the terrorists and is later faced with an even more grave threat at home, when he is challenged by a second "iron man" built using his original plans. The first film ends with his identity as "Iron Man" revealed.
Iron Man is as good as Nolan's Batman films - which is to say, very good indeed - with Downey being remarkably convincing as the conflicted inventor. His performance dominates the screen, with Patrow very good in the supporting role; the on-screen chemistry between them works well.
As a result, I looked forward to the sequel, Iron Man 2. Sadly, this is just a rehash of the first, with yet another "Iron Man" emerging to challenge him. The film tries to distract the audience from noticing the lack of original ideas by introducing Scarlett Johansson as an athletic secret agent and throwing in more fight scenes and bigger explosions, but it doesn't really work and I was relieved when it ended. It isn't a bad film by most standards, but was a major disappointment after Iron Man.
Robert Downey plays Tony Stark, the womanising engineer/genius inventor head of a major armaments firm, who is injured and captured by terrorists in Afghanistan and held for three months, supposedly working on a weapon for them. In fact, he is building a prototype powered armoured suit with which he escapes, but he has been changed by his ordeal and decides to stop making armaments. Back home, he is opposed by Obadiah Stane (Jeff Bridges), his deputy, but supported by his adoring assistant, Pepper Potts (Gwyneth Paltrow). He works on perfecting his powered, flying and fighting suit, using an "arc reactor" of his own invention to provide almost limitless power. With this, he returns to Afghanistan to take on the terrorists and is later faced with an even more grave threat at home, when he is challenged by a second "iron man" built using his original plans. The first film ends with his identity as "Iron Man" revealed.
Iron Man is as good as Nolan's Batman films - which is to say, very good indeed - with Downey being remarkably convincing as the conflicted inventor. His performance dominates the screen, with Patrow very good in the supporting role; the on-screen chemistry between them works well.
As a result, I looked forward to the sequel, Iron Man 2. Sadly, this is just a rehash of the first, with yet another "Iron Man" emerging to challenge him. The film tries to distract the audience from noticing the lack of original ideas by introducing Scarlett Johansson as an athletic secret agent and throwing in more fight scenes and bigger explosions, but it doesn't really work and I was relieved when it ended. It isn't a bad film by most standards, but was a major disappointment after Iron Man.
Saturday, 5 March 2011
Blindsight by Peter Watts
The time is the late 21st century, and the aliens have arrived. Sixty-five thousand unknown objects, in perfectly symmetrical formation, simultaneously burn up in the Earth's atmosphere. An unmanned probe, far out at the edge of the Solar System, detects the faint trace of communications from a large asteroid, aimed further out into space. High-velocity remote probes are sent from Earth, but the asteroid explodes. A manned ship, crewed by a handful of radically adapted specialists, follows the communication trace out towards the Oort Cloud. Their leader is a vampire.
Some time before, it had been discovered that vampires once existed before being killed off by humans at the dawn of civilisation. Their genome had been retrieved from ancient remains and they had been reconstructed. They are top predators (humanity being their favoured prey) who can paralyse people with fear just by looking into their eyes, and were only defeated because they suffer a massive seizure and become helpless at the sight of right-angles – such as a cross. To overcome this they are given a medicine which also tames their predatory instincts; they are valued because they are vastly more intelligent than humans. Their ability to hibernate in a near-death state for months or years has been transferred to the humans who form the rest of the crew, allowing them to make the long, slow journey.
One of the crew is Siri Keeton, a synthesist with half his brain removed in childhood to cure his constant and violent seizures. The vacated space is now filled with technology used to enhance his autistic ability to dispassionately observe and analyse events - and especially the rest of the crew - in order to keep an objective record to send back to Earth.
They manage to track down the destination of the signal, a bizarre alien craft orbiting a brown dwarf star, too dim to have been detected from Earth. The craft appears to be growing but its nature, and that of what the crew assume to be the aliens inhabiting it, makes no sense. The crew struggle to understand what is happening, and suffer increasing stress as the situation deteriorates beyond their control.
Blindsight is an ambitious epic of first contact, in the best tradition of hard SF. It is packed full of original and sometimes startling ideas, and richly deserved the Hugo nomination it received when published a few years ago. However, I have to say that I did not find it an easy read. The very density of ideas slows the pace, while the reader is made to work hard to follow what is going on. I found that I could only read it in small doses so it took me over a week to complete. It was worth the effort, though the conclusion is not one that optimists will enjoy.
Some time before, it had been discovered that vampires once existed before being killed off by humans at the dawn of civilisation. Their genome had been retrieved from ancient remains and they had been reconstructed. They are top predators (humanity being their favoured prey) who can paralyse people with fear just by looking into their eyes, and were only defeated because they suffer a massive seizure and become helpless at the sight of right-angles – such as a cross. To overcome this they are given a medicine which also tames their predatory instincts; they are valued because they are vastly more intelligent than humans. Their ability to hibernate in a near-death state for months or years has been transferred to the humans who form the rest of the crew, allowing them to make the long, slow journey.
One of the crew is Siri Keeton, a synthesist with half his brain removed in childhood to cure his constant and violent seizures. The vacated space is now filled with technology used to enhance his autistic ability to dispassionately observe and analyse events - and especially the rest of the crew - in order to keep an objective record to send back to Earth.
They manage to track down the destination of the signal, a bizarre alien craft orbiting a brown dwarf star, too dim to have been detected from Earth. The craft appears to be growing but its nature, and that of what the crew assume to be the aliens inhabiting it, makes no sense. The crew struggle to understand what is happening, and suffer increasing stress as the situation deteriorates beyond their control.
Blindsight is an ambitious epic of first contact, in the best tradition of hard SF. It is packed full of original and sometimes startling ideas, and richly deserved the Hugo nomination it received when published a few years ago. However, I have to say that I did not find it an easy read. The very density of ideas slows the pace, while the reader is made to work hard to follow what is going on. I found that I could only read it in small doses so it took me over a week to complete. It was worth the effort, though the conclusion is not one that optimists will enjoy.
Thursday, 24 February 2011
Film: From Time to Time (2010)
This is a combination of time travel and ghost story based on Lucy Boston's Green Knowe series of children's books which were published between 1954 and 1976. The film, featuring several well-known British actors including Dame Maggie Smith, went on limited British cinematic release last year and was recently shown on UK TV.
The setting is an ancient English country house at the end of World War 2. A young teenage boy, whose father has been reported missing in action, has been sent to stay with his grandmother from whom his family had been estranged. The house had been in the family for centuries and the boy explores it, fascinated by its history. He soon begins seeing visions of people from two centuries before, a few of whom (children, not adults) can also see him. He finds with increasing frequency that in going from one room to another he may suddenly be back in the 18th century, watching and listening to the people and events there. These scenes are interleaved with ones in his present day, as his grandmother (who has no problem with believing in ghosts) fills in the details of who the people were and what happened to them.
The boy becomes friends with a girl in the 18th century, a distant relative who was blind in real life but can see him. As a result he learns things which even his grandmother does not know, which are of practical benefit to the family.
This is a charming film, well-scripted and acted, and I enjoyed it throughout - but for the odd logical niggle. Now you may say that logic has no place in a ghost story, but I do like to see internal consistency. For example, the scenes set in the 18th century clearly involve the boy experiencing a kind of spiritual time travelling. He sees the house, people and events as they actually were at that time; they are not ghosts (in fact he is a kind of ghost from their future - except that he is still alive). Yet later in the story, while he is in the 20th century, he is visited by the spirit of the girl who tells him things that she could not have known while she was alive. So she really was a ghost at that point, and not time-travelling forwards to see him.
That I could just about swallow, but there was a more glaring inconsistency in the 18th century scenes, in which the boy was there in spirit only; while hardly anyone could see him (and in fact most walked straight through him) he was nonetheless able to pick up and carry material objects from that time - and leave behind physical objects he had brought with him, to be discovered a couple of centuries later. That really won't do!
The setting is an ancient English country house at the end of World War 2. A young teenage boy, whose father has been reported missing in action, has been sent to stay with his grandmother from whom his family had been estranged. The house had been in the family for centuries and the boy explores it, fascinated by its history. He soon begins seeing visions of people from two centuries before, a few of whom (children, not adults) can also see him. He finds with increasing frequency that in going from one room to another he may suddenly be back in the 18th century, watching and listening to the people and events there. These scenes are interleaved with ones in his present day, as his grandmother (who has no problem with believing in ghosts) fills in the details of who the people were and what happened to them.
The boy becomes friends with a girl in the 18th century, a distant relative who was blind in real life but can see him. As a result he learns things which even his grandmother does not know, which are of practical benefit to the family.
This is a charming film, well-scripted and acted, and I enjoyed it throughout - but for the odd logical niggle. Now you may say that logic has no place in a ghost story, but I do like to see internal consistency. For example, the scenes set in the 18th century clearly involve the boy experiencing a kind of spiritual time travelling. He sees the house, people and events as they actually were at that time; they are not ghosts (in fact he is a kind of ghost from their future - except that he is still alive). Yet later in the story, while he is in the 20th century, he is visited by the spirit of the girl who tells him things that she could not have known while she was alive. So she really was a ghost at that point, and not time-travelling forwards to see him.
That I could just about swallow, but there was a more glaring inconsistency in the 18th century scenes, in which the boy was there in spirit only; while hardly anyone could see him (and in fact most walked straight through him) he was nonetheless able to pick up and carry material objects from that time - and leave behind physical objects he had brought with him, to be discovered a couple of centuries later. That really won't do!
Friday, 18 February 2011
Sylvow by Douglas Thompson
Having been intrigued by Ultrameta, a previous novel by this author (reviewed on this blog on 2 October 2009) I was looking forward to seeing how his new work, Sylvow, compared.
There are some parallels between the two. Both are written in the form of discrete chapters - seventeen in this case - some of which have appeared as short stories in various publications. Two of them, Veronika and Vivienne's Garden, I had previously read in two anthologies from the British Fantasy Society; New Horizons (see my 6 November 2009 blog post) and Dark Horizons (22 January 2010). Both novels also feature a series of letters to a loved one written by one of the characters who has disappeared from normal existence, although in Sylvow the expanation for the disappearance is rather more mundane; the writer has chosen to live a wild existence in a forest.
The theme of Sylvow is the revolt of nature against the activities of mankind. Sylvow is an imaginary northern European city/state in the present day, formerly of great power but now in decline. The novel follows the lives of half a dozen of the inhabitants over several years: two women friends, Vivienne and Claudia, and their husbands; Claudio's Franco is a psychotherapist who unwillingly becomes involved with Veronika, a ferocious young Goth, while Vivienne's Leo (who is also Claudia's brother) had gone off to live in the forest surrounding the city several years before the story begins. His letters to Claudia have been the only contact from him since. The final main character is Anton, who after treatment by Franco had chosen to become a forester and who befriends the two women.
Strange things begin to happen in Sylvow. Giant insects emerge from the surrounding forest, plants begin to grow with great speed throughout the city, disrupting the services and blocking the roads, and soldiers are seen conducting peculiar experiments in the forest. The city gradually suffers organisational and social collapse, until it is finally threatened by flooding.
This description may sound like a fashionable environmentalist catastrophe tale, but it is very different from a conventional story. Like all of Thompson's writing, this has a surreal, dreamlike quality, like a fairytale of the original Grimm sort, dark and mysterious and sometimes horrific. There is a haunting quality to his prose, but that doesn’t mean that it is entirely detached from reality as there are some penetrating observations about life and relationships scattered through it; for instance, Franco's ruthless analysis of his own infidelity and the state of mind which led inexorably to disaster in his personal life.
This book won't appeal to everyone. In fact, if I had only read this description it wouldn't have appealed to me, since it isn't the kind of book I normally read. However, the quality of the writing and the strangeness of the story compelled me to read it all the way through.
There are some parallels between the two. Both are written in the form of discrete chapters - seventeen in this case - some of which have appeared as short stories in various publications. Two of them, Veronika and Vivienne's Garden, I had previously read in two anthologies from the British Fantasy Society; New Horizons (see my 6 November 2009 blog post) and Dark Horizons (22 January 2010). Both novels also feature a series of letters to a loved one written by one of the characters who has disappeared from normal existence, although in Sylvow the expanation for the disappearance is rather more mundane; the writer has chosen to live a wild existence in a forest.
The theme of Sylvow is the revolt of nature against the activities of mankind. Sylvow is an imaginary northern European city/state in the present day, formerly of great power but now in decline. The novel follows the lives of half a dozen of the inhabitants over several years: two women friends, Vivienne and Claudia, and their husbands; Claudio's Franco is a psychotherapist who unwillingly becomes involved with Veronika, a ferocious young Goth, while Vivienne's Leo (who is also Claudia's brother) had gone off to live in the forest surrounding the city several years before the story begins. His letters to Claudia have been the only contact from him since. The final main character is Anton, who after treatment by Franco had chosen to become a forester and who befriends the two women.
Strange things begin to happen in Sylvow. Giant insects emerge from the surrounding forest, plants begin to grow with great speed throughout the city, disrupting the services and blocking the roads, and soldiers are seen conducting peculiar experiments in the forest. The city gradually suffers organisational and social collapse, until it is finally threatened by flooding.
This description may sound like a fashionable environmentalist catastrophe tale, but it is very different from a conventional story. Like all of Thompson's writing, this has a surreal, dreamlike quality, like a fairytale of the original Grimm sort, dark and mysterious and sometimes horrific. There is a haunting quality to his prose, but that doesn’t mean that it is entirely detached from reality as there are some penetrating observations about life and relationships scattered through it; for instance, Franco's ruthless analysis of his own infidelity and the state of mind which led inexorably to disaster in his personal life.
This book won't appeal to everyone. In fact, if I had only read this description it wouldn't have appealed to me, since it isn't the kind of book I normally read. However, the quality of the writing and the strangeness of the story compelled me to read it all the way through.
Friday, 11 February 2011
Film: Stranger Than Fiction (2006); Outcasts (BBC TV)
I record any film on TV which I think looks as if it might be interesting, but when I watch them I reject most within a quarter of an hour of the start. I recently saw Stranger Than Fiction after deleting several films in a row, but this one hit the spot so I stayed with it to the end.
This comic fantasy, set in Chicago, has an unusual premise: the hero of the tale, IRS auditor Harold Crick (Will Ferrell) who lives a life of obsessive monotony , starts to hear a female voice in his head describing everything he is doing - or is about to do. He fears he is going mad, but is galvanised into action when the voice prophesies his imminent death. A psychiatrist can't help him so he turns to a literature professor (Dustin Hoffman) who is intrigued that the voice appears to belong to an author who is writing a novel featuring Howard, but he can't identify her. He advises Howard that there is nothing to be done and that he had better enjoy life while he can, so Howard starts to fulfil childhood dreams and also plucks up the courage to approach the feisty baker (Maggie Gyllenhaal) he has been investigating for failure to pay her taxes.
Meanwhile, the author (Emma Thompson), who lives in the same city, is suffering from writer's block and can't work out how best to kill off Howard to conclude her new novel, Death and Taxes. Howard recognises her voice in a TV interview and manages to track her down, leading to some unexpected twists and turns before the end.
This film held my attention and amused me throughout. It is a life-affirming story, well-acted by a high-quality cast and told with intelligence and wry humour. Highly recommended.
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Outcasts is a new BBC TV SF eight-part drama, of which I have so far seen the first two parts. The scenario is far enough into the future for humanity to have developed huge starships, one of which had managed to establish a settlement on the distant planet of Carpathia (named after the ship which rescued survivors of the Titanic disaster) some years before. The name is significant, as civilisation on Earth appears to be in its final throes, and the last starship is due to arrive.
All is not well on Carpathia, however, as the team of explorers who spend most of their time away from the settlement are planning a rebellion. The president (Liam Cunningham) aided by the head of security (Hermione Norris, who famously played a formidable MI5 agent in Spooks) try to hold the line while preparing for the arrival of the starship. All is not well with that either, as it has suffered some damage which threatens disaster if it tries to land on the planet, so it launches an escape pod to ensure that some survive. Just to complicate matters further, there is a band of renegade humans in the wild, rejected by the settlement years before.
The focus is on the human drama and the acting is reasonably good (Norris being the stand-out performer) although some of the dialogue still sounds rather stiff and awkward to me - a perennial screen-SF problem. However, the SF elements are weak so far, and even the big CGI effort of the starship is hopelessly unconvincing, simply because the plot requires this vast structure, with living space in two huge counter-rotating artifical gravity wheels, to try to land on the planet. Now you don't have to be an SF geek to realise that such a vessel cannot possibly enter a planet's atmosphere let alone make a landing, a fleet of shuttles being required for that task, but the programme makers don't seem to realise that.
Overall it's moderately promising so far and I'll keep watching; I'll return to it to make some final comments once I've seen the lot.
This comic fantasy, set in Chicago, has an unusual premise: the hero of the tale, IRS auditor Harold Crick (Will Ferrell) who lives a life of obsessive monotony , starts to hear a female voice in his head describing everything he is doing - or is about to do. He fears he is going mad, but is galvanised into action when the voice prophesies his imminent death. A psychiatrist can't help him so he turns to a literature professor (Dustin Hoffman) who is intrigued that the voice appears to belong to an author who is writing a novel featuring Howard, but he can't identify her. He advises Howard that there is nothing to be done and that he had better enjoy life while he can, so Howard starts to fulfil childhood dreams and also plucks up the courage to approach the feisty baker (Maggie Gyllenhaal) he has been investigating for failure to pay her taxes.
Meanwhile, the author (Emma Thompson), who lives in the same city, is suffering from writer's block and can't work out how best to kill off Howard to conclude her new novel, Death and Taxes. Howard recognises her voice in a TV interview and manages to track her down, leading to some unexpected twists and turns before the end.
This film held my attention and amused me throughout. It is a life-affirming story, well-acted by a high-quality cast and told with intelligence and wry humour. Highly recommended.
---------------------------------------------------------------------------------
Outcasts is a new BBC TV SF eight-part drama, of which I have so far seen the first two parts. The scenario is far enough into the future for humanity to have developed huge starships, one of which had managed to establish a settlement on the distant planet of Carpathia (named after the ship which rescued survivors of the Titanic disaster) some years before. The name is significant, as civilisation on Earth appears to be in its final throes, and the last starship is due to arrive.
All is not well on Carpathia, however, as the team of explorers who spend most of their time away from the settlement are planning a rebellion. The president (Liam Cunningham) aided by the head of security (Hermione Norris, who famously played a formidable MI5 agent in Spooks) try to hold the line while preparing for the arrival of the starship. All is not well with that either, as it has suffered some damage which threatens disaster if it tries to land on the planet, so it launches an escape pod to ensure that some survive. Just to complicate matters further, there is a band of renegade humans in the wild, rejected by the settlement years before.
The focus is on the human drama and the acting is reasonably good (Norris being the stand-out performer) although some of the dialogue still sounds rather stiff and awkward to me - a perennial screen-SF problem. However, the SF elements are weak so far, and even the big CGI effort of the starship is hopelessly unconvincing, simply because the plot requires this vast structure, with living space in two huge counter-rotating artifical gravity wheels, to try to land on the planet. Now you don't have to be an SF geek to realise that such a vessel cannot possibly enter a planet's atmosphere let alone make a landing, a fleet of shuttles being required for that task, but the programme makers don't seem to realise that.
Overall it's moderately promising so far and I'll keep watching; I'll return to it to make some final comments once I've seen the lot.
Saturday, 5 February 2011
Interzone 232
A surreal picture by Richard Wagner is on the cover of the Jan-Feb issue of the British SFF magazine; I like this type of photo-realistic painting showing impossible things. The book reviews include Corvus by Paul Kearney, the sequel to The Ten Thousand, which I reviewed here in October 2008. The reviewer makes similar observations to mine about Kearney's writing, when I wrote: "The strength of the book is in its battle scenes, of which there are many. The author belongs to the gritty realism school of writing, and the fear, panic, confusion and brutality of battle are powerfully evoked, as are the campaigning problems of hunger, thirst, heat, cold, and body lice. The result is a gripping account which draws in the reader and had this reviewer shivering with the tension of the build-up to the final climactic battle."
There are also reviews of three books from the 1950s, made available again by Westholme Publishing in their "America Reads" series of classic works: The Flying Saucer by Bernard Newman, One by David Karp and Limbo by Bernard Wolfe. By and large, the reviewers feel these haven't worn too well, with One receiving the highest accolade - a rather tentative and qualified approval. Another of the new works reviewed which caught my eye, Buntline Special by Mike Resnick, is set in an alternative history in which the power of the native American medicine men has held the European invaders at the line of the Mississippi. Resnick's name is one I've been familiar with for a long time, but I can't recall ever reading anything by him. This one sounds entertaining, though.
The film and TV reviews include Tron Legacy (ho hum) and Harry Potter and the Deathly Hallows Part 1 (a stage-setter for the finale), both of which I hope to see before long; I rather liked the original Tron, which for some reason has been withdrawn from circulation by Disney. A DVD set of The Avengers Series Six revived fond memories of the bizarrely fantastic plots, but this series didn't have Diana Rigg in it (except to say farewell in the first episode) so where's the a-Peel?
On a sadder note, the obituaries record the death of John Steakley at the age of only 59. He was the author of Armor (1984) and Vampires (1990), the latter being made into a film. I still have a copy of Armor on my shelf for a re-read some day, an intriguingly different take on militaristic SF.
Now to the short stories, of which there are five:
Noam Chomsky and the Time Box by Douglas Lain, illustrated by Richard Wagner. A portable "time box" has been invented which allows owners to travel back in time and interact with people there, although no substantial changes are possible no matter how hard they try. The box also has a reset button to allow the traveller to cancel his interventions and go back to the start to try again. The main character has the obsessive notion that he could make subtle but important changes by going back to the 1960s and forcing an interaction between the linguist Noam Chomsky and the fantasist Terence McKenna (he of the 2012 catastrophe theory), and his account of his many efforts to achieve this is written in the form of a series of blog entries. Really strange, but earns points for originality.
Intellectual Property by Michael R Fletcher, illustrated by Mark Pexton. A time when people can have - quite literally - plug-in memories in form of a flash-drive like device which is inserted into the head. When the device is removed, they lose all memory of what happened or what they learned while it was in - until it is reinserted. The protagonist is an innocent young woman normally, but unknown to herself becomes a deadly secret agent when her plug is inserted by her employers. An intriguing plot device, but it takes some time to work out what is going on.
By Plucking Her Petals by Sarah L Edwards, illustrated by Mark Pexton. A medieval fantasy in which magic can be used to make permanent changes in people's appearance. One low-level practitioner of such magic becomes embroiled in affairs which are way above his head.
Healthy, Wealthy and Wise by Sue Burke, illustrated by Ben Baldwin. A clash of cultures in the near future between a Spanish woman who needs expensive medical treatment, and an American student doing field work who she has to host her in return for receiving the treatment. The action is seen from the viewpoint of the student's "Friend", a highly capable AI in her phone who observes everything that is going on, monitors her physical and mental health, translates when required, and generally advises and takes care of her. An upbeat and engaging tale - who wouldn't want a Friend like that? I can't help thinking that it would rapidly encourage a strong psychological dependency, though.
Flock, Shoal, Herd by James Bloomer. This won the James White Award (open to non-professional writers). A distant future in which government agents can conceal themselves to carry out their work by adopting other human or animal bodies, or even multiple bodies. One such agent goes in search of a former lover who has learned to transcend the limitations of this system and become something else entirely. Like the Fletcher story above, the tale skips across events like a flat stone across water, so the reader has to concentrate to keep up; but it's short enough to read again straight away.
There are also reviews of three books from the 1950s, made available again by Westholme Publishing in their "America Reads" series of classic works: The Flying Saucer by Bernard Newman, One by David Karp and Limbo by Bernard Wolfe. By and large, the reviewers feel these haven't worn too well, with One receiving the highest accolade - a rather tentative and qualified approval. Another of the new works reviewed which caught my eye, Buntline Special by Mike Resnick, is set in an alternative history in which the power of the native American medicine men has held the European invaders at the line of the Mississippi. Resnick's name is one I've been familiar with for a long time, but I can't recall ever reading anything by him. This one sounds entertaining, though.
The film and TV reviews include Tron Legacy (ho hum) and Harry Potter and the Deathly Hallows Part 1 (a stage-setter for the finale), both of which I hope to see before long; I rather liked the original Tron, which for some reason has been withdrawn from circulation by Disney. A DVD set of The Avengers Series Six revived fond memories of the bizarrely fantastic plots, but this series didn't have Diana Rigg in it (except to say farewell in the first episode) so where's the a-Peel?
On a sadder note, the obituaries record the death of John Steakley at the age of only 59. He was the author of Armor (1984) and Vampires (1990), the latter being made into a film. I still have a copy of Armor on my shelf for a re-read some day, an intriguingly different take on militaristic SF.
Now to the short stories, of which there are five:
Noam Chomsky and the Time Box by Douglas Lain, illustrated by Richard Wagner. A portable "time box" has been invented which allows owners to travel back in time and interact with people there, although no substantial changes are possible no matter how hard they try. The box also has a reset button to allow the traveller to cancel his interventions and go back to the start to try again. The main character has the obsessive notion that he could make subtle but important changes by going back to the 1960s and forcing an interaction between the linguist Noam Chomsky and the fantasist Terence McKenna (he of the 2012 catastrophe theory), and his account of his many efforts to achieve this is written in the form of a series of blog entries. Really strange, but earns points for originality.
Intellectual Property by Michael R Fletcher, illustrated by Mark Pexton. A time when people can have - quite literally - plug-in memories in form of a flash-drive like device which is inserted into the head. When the device is removed, they lose all memory of what happened or what they learned while it was in - until it is reinserted. The protagonist is an innocent young woman normally, but unknown to herself becomes a deadly secret agent when her plug is inserted by her employers. An intriguing plot device, but it takes some time to work out what is going on.
By Plucking Her Petals by Sarah L Edwards, illustrated by Mark Pexton. A medieval fantasy in which magic can be used to make permanent changes in people's appearance. One low-level practitioner of such magic becomes embroiled in affairs which are way above his head.
Healthy, Wealthy and Wise by Sue Burke, illustrated by Ben Baldwin. A clash of cultures in the near future between a Spanish woman who needs expensive medical treatment, and an American student doing field work who she has to host her in return for receiving the treatment. The action is seen from the viewpoint of the student's "Friend", a highly capable AI in her phone who observes everything that is going on, monitors her physical and mental health, translates when required, and generally advises and takes care of her. An upbeat and engaging tale - who wouldn't want a Friend like that? I can't help thinking that it would rapidly encourage a strong psychological dependency, though.
Flock, Shoal, Herd by James Bloomer. This won the James White Award (open to non-professional writers). A distant future in which government agents can conceal themselves to carry out their work by adopting other human or animal bodies, or even multiple bodies. One such agent goes in search of a former lover who has learned to transcend the limitations of this system and become something else entirely. Like the Fletcher story above, the tale skips across events like a flat stone across water, so the reader has to concentrate to keep up; but it's short enough to read again straight away.
Friday, 28 January 2011
Film: Inception (2010)
Written, directed and produced by the brilliant Christopher Nolan (Memento, The Prestige, Batman Begins, The Dark Knight), this was one of the films of 2010 most eagerly awaited by SF fans.
It is set in the near future in a world the same as ours except that a combination of drugs and technology permits people to invade the dreams of others, imposing their own dream structures (designed by specialist "architects") in order to obtain secrets and even influence their target's subsequent actions (a process known as "inception"). The principal character, Dom Cobb (Leonardo DiCaprio) is an expert at this, and is hired by a powerful industrial organisation to influence the heir to a rival energy corporation (Cillian Murphy) to break up the corporation on the imminent death of his father. Cobb assembles a team who succeed in drugging the heir on a long flight and proceed to take him on a dream journey, steadily downwards through dreams within dreams, each with its own distinct setting, until facing him with a modified recreation of his father's deathbed scene. During this process, Cobb is hounded by guilty memories of his wife (Marion Cotillard), who committed suicide as a result of his manipulations, and who appears in the dreams constantly trying to frustrate his actions.
This is an intelligent, convincing and exciting thriller which held my attention throughout, but it certainly requires concentration to keep up with the fast-moving events as the story keeps flipping between dream levels. I understand that a lot of viewers found it baffling, but as I was aware of the general plot in advance I had no problem in following it. However, there were some details I was uncertain about or unaware of, and I found the Wiki plot summary (which I read after seeing the film) useful in tidying up some loose ends.
I rarely watch films more than once, but if I've enjoyed one enough to want to see it again, I like to leave at least a couple of years between viewings so that the details have faded from my memory. However, Inception is one of those rare films that I immediately knew I would want to watch again before long, in order to obtain even more enjoyment through a deeper understanding the next time around.
Christopher Nolan has done it again - the man seems unable to make anything but excellent films. What I like most about his work is that it is exciting but also highly original and intelligent - a league above the usual by-the-numbers, predictable and sometimes downright moronic level of Hollywood action movies.
It is set in the near future in a world the same as ours except that a combination of drugs and technology permits people to invade the dreams of others, imposing their own dream structures (designed by specialist "architects") in order to obtain secrets and even influence their target's subsequent actions (a process known as "inception"). The principal character, Dom Cobb (Leonardo DiCaprio) is an expert at this, and is hired by a powerful industrial organisation to influence the heir to a rival energy corporation (Cillian Murphy) to break up the corporation on the imminent death of his father. Cobb assembles a team who succeed in drugging the heir on a long flight and proceed to take him on a dream journey, steadily downwards through dreams within dreams, each with its own distinct setting, until facing him with a modified recreation of his father's deathbed scene. During this process, Cobb is hounded by guilty memories of his wife (Marion Cotillard), who committed suicide as a result of his manipulations, and who appears in the dreams constantly trying to frustrate his actions.
This is an intelligent, convincing and exciting thriller which held my attention throughout, but it certainly requires concentration to keep up with the fast-moving events as the story keeps flipping between dream levels. I understand that a lot of viewers found it baffling, but as I was aware of the general plot in advance I had no problem in following it. However, there were some details I was uncertain about or unaware of, and I found the Wiki plot summary (which I read after seeing the film) useful in tidying up some loose ends.
I rarely watch films more than once, but if I've enjoyed one enough to want to see it again, I like to leave at least a couple of years between viewings so that the details have faded from my memory. However, Inception is one of those rare films that I immediately knew I would want to watch again before long, in order to obtain even more enjoyment through a deeper understanding the next time around.
Christopher Nolan has done it again - the man seems unable to make anything but excellent films. What I like most about his work is that it is exciting but also highly original and intelligent - a league above the usual by-the-numbers, predictable and sometimes downright moronic level of Hollywood action movies.
Saturday, 22 January 2011
The Hidden Oasis by Paul Sussman
The Hidden Oasis (2009) is the third novel by Paul Sussman, the others being The Lost Army of Cambyses (2002) and The Last Secret of the Temple (2005). All three are written to the same formula; present-day adventure thrillers in which the characters are struggling to solve mysteries linked to events in both the recent and the very distant past. The author's background as a field archaeologist who has spent much time in Egypt is made full use of, with rich descriptions of the country and of archaeology, and his understanding of the different cultures of the region comes through clearly.
There is one common character in all three novels - Inspector Khalifa of the Luxor Police - but he has only a cameo role in the latest story. The principals are a young American woman who visits Egypt for the first time for the funeral of her elder sister, and the British archaeologist who had worked with her sister in a search for the "hidden oasis", a legendary place sought for centuries which was supposed to contain a weapon of mysterious power. Added to this, an aircraft carrying an important cargo had vanished in the area some twenty years before, and various groups - including some exceedingly unsavoury characters - were taking an active interest. Inevitably, the principal characters become involved in the search and much skullduggery, chases and general excitement follow, before all is revealed.
Sussman's work has been compared with Dan Brown's but his plotting, characterisation and writing in general are vastly superior. In spirit, this story reminded me a little of a childhood favourite: Rider Haggard's King Soloman's Mines. The pacing of the story is steady to start with but gradually ramps up and I read the last third of this 620 page book in one go - I couldn't put it down.
On the face of it Sussman's books do not fit into the SFF category, but in all his stories there is an touch of fantasy at the end and this forms a major element in The Hidden Oasis. This may sound odd coming from an SFF fan, but I rather wish it didn't; this story works perfectly well as an exciting modern adventure mystery set against an authentically detailed background, and the magical happenings right at the end seem somehow out of place. I would have preferred an element of uncertainty as to whether or not there could have been a mundane explanation for events, but no such get-out in this story; the impossibility of the ending is literally earth-shaking. Despite this reservation, the novels are well worth reading if you enjoy burying yourself in a really good, well-researched yarn.
There is one common character in all three novels - Inspector Khalifa of the Luxor Police - but he has only a cameo role in the latest story. The principals are a young American woman who visits Egypt for the first time for the funeral of her elder sister, and the British archaeologist who had worked with her sister in a search for the "hidden oasis", a legendary place sought for centuries which was supposed to contain a weapon of mysterious power. Added to this, an aircraft carrying an important cargo had vanished in the area some twenty years before, and various groups - including some exceedingly unsavoury characters - were taking an active interest. Inevitably, the principal characters become involved in the search and much skullduggery, chases and general excitement follow, before all is revealed.
Sussman's work has been compared with Dan Brown's but his plotting, characterisation and writing in general are vastly superior. In spirit, this story reminded me a little of a childhood favourite: Rider Haggard's King Soloman's Mines. The pacing of the story is steady to start with but gradually ramps up and I read the last third of this 620 page book in one go - I couldn't put it down.
On the face of it Sussman's books do not fit into the SFF category, but in all his stories there is an touch of fantasy at the end and this forms a major element in The Hidden Oasis. This may sound odd coming from an SFF fan, but I rather wish it didn't; this story works perfectly well as an exciting modern adventure mystery set against an authentically detailed background, and the magical happenings right at the end seem somehow out of place. I would have preferred an element of uncertainty as to whether or not there could have been a mundane explanation for events, but no such get-out in this story; the impossibility of the ending is literally earth-shaking. Despite this reservation, the novels are well worth reading if you enjoy burying yourself in a really good, well-researched yarn.
Saturday, 15 January 2011
Film: The Truman Show (1998)
Continuing with my efforts to catch up with worthwhile SFF films, I've finally seen The Truman Show. The plot must be well enough known by now, although I must confess I did wish whilst watching it that I hadn't had any advance notice of the basic premise, as it would have been fun discovering that for myself as the film developed. So if you really have no idea what it's about, my advice is: watch the film (it's terrific), but read no further.
The plot is mixture of a soap opera and reality TV show on the surface, but underneath is a paranoid conspiracy theory made real. Truman Burbank (Jim Carrey) lives an apparently normal, happily married (to Laura Linney) life in an idyllic little American town set on a small island. The one quirk is that, following a childhood accident in which his father was drowned, Truman is so terrified of water that he can't even drive over it on a bridge; so he has never left the island. Despite this, he has a fantasy of travelling to Fiji to follow the girl he really fell in love with (Natascha McElhone) who had vanished abruptly from the island years before.
The problems begin when odd events cause Truman to start to question the nature of the world he lives in. Strange incidents keep occurring, starting with a piece of equipment falling out of a clear sky. I enjoyed the way in which the headline of the next day's local paper always had a logical explanation for the events (in this case, that an aircraft in trouble had shed some equipment over the island). Despite such cover-ups, Truman gradually becomes suspicious, and feels that he is being spied on and set up.
The truth is far worse than that; for the entire island is a movie set, and everyone on it except himself is an actor. Broadcast around the world from thousands of cameras concealed around the island, the real-time continuously-running story of Truman's life since birth has been the entire purpose of The Truman Show, and is followed by millions of devoted fans. The film gradually interleaves scenes of Truman's increasing paranoia and desperation to escape the island with those of fans watching the show, plus views of the control-room staff under the direction of Cristof (a chillingly controlling Ed Harris) who constantly choreographs the actors to keep the show on the rails. I was reminded of the old joke: just because you're paranoid, it doesn't mean that they're not out to get you!
The climax of the film (and the Show) is dramatic and uplifting, a fitting end to an excellent, original and amusing production. Full marks!
The plot is mixture of a soap opera and reality TV show on the surface, but underneath is a paranoid conspiracy theory made real. Truman Burbank (Jim Carrey) lives an apparently normal, happily married (to Laura Linney) life in an idyllic little American town set on a small island. The one quirk is that, following a childhood accident in which his father was drowned, Truman is so terrified of water that he can't even drive over it on a bridge; so he has never left the island. Despite this, he has a fantasy of travelling to Fiji to follow the girl he really fell in love with (Natascha McElhone) who had vanished abruptly from the island years before.
The problems begin when odd events cause Truman to start to question the nature of the world he lives in. Strange incidents keep occurring, starting with a piece of equipment falling out of a clear sky. I enjoyed the way in which the headline of the next day's local paper always had a logical explanation for the events (in this case, that an aircraft in trouble had shed some equipment over the island). Despite such cover-ups, Truman gradually becomes suspicious, and feels that he is being spied on and set up.
The truth is far worse than that; for the entire island is a movie set, and everyone on it except himself is an actor. Broadcast around the world from thousands of cameras concealed around the island, the real-time continuously-running story of Truman's life since birth has been the entire purpose of The Truman Show, and is followed by millions of devoted fans. The film gradually interleaves scenes of Truman's increasing paranoia and desperation to escape the island with those of fans watching the show, plus views of the control-room staff under the direction of Cristof (a chillingly controlling Ed Harris) who constantly choreographs the actors to keep the show on the rails. I was reminded of the old joke: just because you're paranoid, it doesn't mean that they're not out to get you!
The climax of the film (and the Show) is dramatic and uplifting, a fitting end to an excellent, original and amusing production. Full marks!
Friday, 7 January 2011
Beholder's Eye by Julie E. Czerneda
I haven't read anything by this author before but kept hearing favourable comments about her work, so I decided to try Beholder's Eye, the first of her Web Shifters trilogy, published in 1998.
The premise is unusual in that the heroine, Esen, is not only not human, she is an immortal being of pure energy who has the power to take the form of any race she knows. She and her small group of related Web Shifters spend most of their time in material form, spending years living within one culture after another and using their unique abilities to absorb and remember everything about them so that they will not be forgotten if they disappear. Their primary concern is not to be discovered, so they hide their true nature from everyone.
In this far-future universe, humanity has spread over a large number of worlds but is just one among many races in a mostly peaceable but occasionally turbulent galactic civilisation, divided into several rival blocs. Esen inadvertently becomes involved with a group of humans and is captured along with one of them, Ragem. In order to save his life she is forced to reveal something of her nature and he then becomes her intermittent companion in the adventures that follow.
I enjoyed the beginning of the tale but after a while began to find it somewhat uninvolving. This is partly because it's a bit difficult to empathise with an immortal alien energy being, partly because there is an inevitable lack of tension, despite a series of dramatic escapades, since the reader knows that Esen could escape from any threat if she chose. However, this changes in the last third of the book as a deadly danger, a more primitive Web Shifter predator, begins to hunt down and attack Esen's group. The story then becomes a tense battle for survival for the Web Shifters.
The story is told in the first person by Esen, who makes a likeable heroine although her attitudes are not at all alien; she thinks and behaves exactly as a human woman might if given her unusual ability. On the other hand she is influenced, sometimes amusingly, by the attitudes of the races she copies, because she becomes them in style of thought as well as appearance. Her developing and sometimes rocky relationship with Ragem, as he gradually discovers more about her circumstances, is another plus point. In the end I found it a good if not great read and worth the time spent on it, despite my reservations.
The premise is unusual in that the heroine, Esen, is not only not human, she is an immortal being of pure energy who has the power to take the form of any race she knows. She and her small group of related Web Shifters spend most of their time in material form, spending years living within one culture after another and using their unique abilities to absorb and remember everything about them so that they will not be forgotten if they disappear. Their primary concern is not to be discovered, so they hide their true nature from everyone.
In this far-future universe, humanity has spread over a large number of worlds but is just one among many races in a mostly peaceable but occasionally turbulent galactic civilisation, divided into several rival blocs. Esen inadvertently becomes involved with a group of humans and is captured along with one of them, Ragem. In order to save his life she is forced to reveal something of her nature and he then becomes her intermittent companion in the adventures that follow.
I enjoyed the beginning of the tale but after a while began to find it somewhat uninvolving. This is partly because it's a bit difficult to empathise with an immortal alien energy being, partly because there is an inevitable lack of tension, despite a series of dramatic escapades, since the reader knows that Esen could escape from any threat if she chose. However, this changes in the last third of the book as a deadly danger, a more primitive Web Shifter predator, begins to hunt down and attack Esen's group. The story then becomes a tense battle for survival for the Web Shifters.
The story is told in the first person by Esen, who makes a likeable heroine although her attitudes are not at all alien; she thinks and behaves exactly as a human woman might if given her unusual ability. On the other hand she is influenced, sometimes amusingly, by the attitudes of the races she copies, because she becomes them in style of thought as well as appearance. Her developing and sometimes rocky relationship with Ragem, as he gradually discovers more about her circumstances, is another plus point. In the end I found it a good if not great read and worth the time spent on it, despite my reservations.
Saturday, 1 January 2011
Film: Gattaca (1997)
Yet another film which I finally got around to seeing after meaning to for many years.
For those unfamiliar with the plot, it is set in a not-too-far distant future in which children's genetic make-up can be adjusted at conception, a process routinely done by those who can afford it. This is not just to avoid any genetic disabilities but also to produce flawless people of superior all-round physical and mental ability. Such people, known as "valids", have huge advantages in life and are routinely appointed to the best jobs. But not everyone is born with such advantages - many are "in-valids". So what do you do if you have a burning desire to go on a mission to the outer planets, but lack the genetic superiority which is a basic requirement of being an astronaut? Particularly when instant genetic tests are carried out frequently at workplaces, as a matter of routine?
This is the problem facing the protagonist Vincent Freeman (Ethan Hawke). He finds a way of tricking the tests with the aid of a crippled valid whose identity he takes, and is duly selected for a forthcoming space mission. But he lives in constant fear of discovery; a situation exacerbated when he becomes involved with a colleague (Uma Thurman, so glossily perfect that she seems alien). Then a murder occurs at his workplace and an intense investigation follows in which he becomes the prime suspect. Will he be able to survive this and take his place on the mission?
Gattaca succeeds on three levels: it's a gripping thriller, relying on psychological tension rather than car chases or explosions; it foreshadows issues around human genetic manipulation which are likely to be with us in reality all too soon; and it is a human story of a fight for identity and achievement over and above that which is written in the genes. The direction is restrained and the film has a pared-down minimalist feel without an unnecessary scene or word; the score by Michael Nyman complements it perfectly. I am not a fan of dystopias, which is basically what this film portrays, but it is still one of the best SF movies I've ever seen.
For those unfamiliar with the plot, it is set in a not-too-far distant future in which children's genetic make-up can be adjusted at conception, a process routinely done by those who can afford it. This is not just to avoid any genetic disabilities but also to produce flawless people of superior all-round physical and mental ability. Such people, known as "valids", have huge advantages in life and are routinely appointed to the best jobs. But not everyone is born with such advantages - many are "in-valids". So what do you do if you have a burning desire to go on a mission to the outer planets, but lack the genetic superiority which is a basic requirement of being an astronaut? Particularly when instant genetic tests are carried out frequently at workplaces, as a matter of routine?
This is the problem facing the protagonist Vincent Freeman (Ethan Hawke). He finds a way of tricking the tests with the aid of a crippled valid whose identity he takes, and is duly selected for a forthcoming space mission. But he lives in constant fear of discovery; a situation exacerbated when he becomes involved with a colleague (Uma Thurman, so glossily perfect that she seems alien). Then a murder occurs at his workplace and an intense investigation follows in which he becomes the prime suspect. Will he be able to survive this and take his place on the mission?
Gattaca succeeds on three levels: it's a gripping thriller, relying on psychological tension rather than car chases or explosions; it foreshadows issues around human genetic manipulation which are likely to be with us in reality all too soon; and it is a human story of a fight for identity and achievement over and above that which is written in the genes. The direction is restrained and the film has a pared-down minimalist feel without an unnecessary scene or word; the score by Michael Nyman complements it perfectly. I am not a fan of dystopias, which is basically what this film portrays, but it is still one of the best SF movies I've ever seen.
Friday, 24 December 2010
Ex-Heroes by Peter Clines
I can't quite recall how I came to choose this book for review, because it isn't my usual reading fare. It combines two fantasy sub-genres, superheroes (I sometimes watch these on film but don't read about them) and zombies (which I neither watch nor read). However, I decided to regard it as educational and pressed on.
The time is the near future, when two different events have completely changed the world. The first is when a few ordinary people began to acquire specific superhero powers. The principal character is known as St George, an invulnerable crime-fighter of immense strength who can leap over buildings and breathe fire, but others include Gorgon, who can drain people's life force with his eyes, Zzap, who turns into a being of pure energy, and Cerberus, a young female engineer who has no superpowers but has developed a huge, powered, armed and armoured fighting suit. And then there is the mysterious Stealth, a beautiful woman dressed head to toe in a skinsuit, who is formidably intelligent as well as superhumanly fast and strong, and becomes the superheroes' leader.
The second event is far more serious and follows shortly after the first; zombies begin to appear in increasing numbers. They are driven by a desire to bite healthy people, who sicken and die and become zombies themselves. The only way to kill them is to destroy their heads. An initial slowness to react and take the drastic measures necessary to contain the outbreak means that it has spread around the world. Even many of the superheroes fall victim to them, and return to fight their former comrades.
As Ex-Heroes begins, almost the entire human population has become zombies. A few thousand people survive in Los Angeles in two groups: one, supported by the surviving superheroes, is concentrated in the Paramount Studious complex, a walled area which can be defended against the surrounding hordes of zombies. The other, much larger, group is a criminal gang known as the Seventeens, who attack the other humans and superheroes when they can.
The chapters initially alternate between "now" and "then"; the ones set in the past each focusing on a specific superhero as the zombie plague begins, and thereby introducing the reader to the characters in more detail than the main narrative. Towards the end of the book, the attention is very much on "now"; the fight for survival against the zombies and the Seventeen, which reveals the limitations of even the most powerful superhero.
The plot is unusual, the story well written, the characters developed well enough to engage the reader, and it's a gripping tale from start to finish. I have only two reservations; it's a very grim dystopia (although with a glimmer of hope at the end), and there are an awful lot of gruesome fight scenes with the zombies. It made an interesting departure for me, but has not inspired me to want to read any more books about zombies!
The time is the near future, when two different events have completely changed the world. The first is when a few ordinary people began to acquire specific superhero powers. The principal character is known as St George, an invulnerable crime-fighter of immense strength who can leap over buildings and breathe fire, but others include Gorgon, who can drain people's life force with his eyes, Zzap, who turns into a being of pure energy, and Cerberus, a young female engineer who has no superpowers but has developed a huge, powered, armed and armoured fighting suit. And then there is the mysterious Stealth, a beautiful woman dressed head to toe in a skinsuit, who is formidably intelligent as well as superhumanly fast and strong, and becomes the superheroes' leader.
The second event is far more serious and follows shortly after the first; zombies begin to appear in increasing numbers. They are driven by a desire to bite healthy people, who sicken and die and become zombies themselves. The only way to kill them is to destroy their heads. An initial slowness to react and take the drastic measures necessary to contain the outbreak means that it has spread around the world. Even many of the superheroes fall victim to them, and return to fight their former comrades.
As Ex-Heroes begins, almost the entire human population has become zombies. A few thousand people survive in Los Angeles in two groups: one, supported by the surviving superheroes, is concentrated in the Paramount Studious complex, a walled area which can be defended against the surrounding hordes of zombies. The other, much larger, group is a criminal gang known as the Seventeens, who attack the other humans and superheroes when they can.
The chapters initially alternate between "now" and "then"; the ones set in the past each focusing on a specific superhero as the zombie plague begins, and thereby introducing the reader to the characters in more detail than the main narrative. Towards the end of the book, the attention is very much on "now"; the fight for survival against the zombies and the Seventeen, which reveals the limitations of even the most powerful superhero.
The plot is unusual, the story well written, the characters developed well enough to engage the reader, and it's a gripping tale from start to finish. I have only two reservations; it's a very grim dystopia (although with a glimmer of hope at the end), and there are an awful lot of gruesome fight scenes with the zombies. It made an interesting departure for me, but has not inspired me to want to read any more books about zombies!
Saturday, 18 December 2010
Films: Dogma (1999), Highlander (1986)
I was pointed towards Dogma in an SFF discussion forum, so I gave it a spin recently. The plot of this comic fantasy is novel: two fallen angels (Ben Affleck and Matt Damon), living as humans in present-day USA after having been banished by God long ago, conceive a plan to get back to Paradise. The problems are that if they succeeded this would prove that God is fallible, and thus cause the end of all creation; and that God, who could stop them easily enough, has gone missing while in disguise, somewhere on Earth. To help prevent disaster, God's spokesman (Alan Rickman) recruits a woman (Linda Fiorentino) who, unknown to herself, is the last scion of the family of Jesus of Nazareth. She is tasked with stopping the angels, with the aid of an assortment of dubious characters.
This is the excuse for a lot of rather heavy-handed and sometimes crude humour, mostly at the expense of religion in general and the Roman Catholic Church in particular - I gather that it prompted protests from Catholics in the usual Pavlovian manner. Subtle it ain't, but it fires enough comic shots for a number of them to score hits. All in all, worth watching if you are in the mood for some broad humour, unless you are religious and of a sensitive disposition.
I've been meaning to watch Highlander for years, but have only just got around to it. The story of the accidental immortal Connor MacLeod (played by Christopher Lambert) who spends centuries battling the Kurgan, another immortal warrior, must be well-known by now. Two plot threads run in parallel with the scenes flipping between them; one in the sixteenth century, when Connor first discovers he is immortal and is trained by fellow-immortal Ramirez (played by Sean Connery) and one in 1985 when the climactic battle takes place.
I have to say that I was rather dissatisfied. There are yawning plot holes, with no attempt at any explanation for what is going on and why. Lambert makes a broodingly impressive hero but the Kurgan is a cardboard cut-out villain and the rest of the cast (except Connery) are unmemorable. I found the background pop music jarringly inappropriate, and the whole film rather pretentious and overblown. It compares badly with some of the more recent superhero movies. I gather it has cult status and is highly regarded compared with the sequels, so I won't be wasting time on them…
This is the excuse for a lot of rather heavy-handed and sometimes crude humour, mostly at the expense of religion in general and the Roman Catholic Church in particular - I gather that it prompted protests from Catholics in the usual Pavlovian manner. Subtle it ain't, but it fires enough comic shots for a number of them to score hits. All in all, worth watching if you are in the mood for some broad humour, unless you are religious and of a sensitive disposition.
I've been meaning to watch Highlander for years, but have only just got around to it. The story of the accidental immortal Connor MacLeod (played by Christopher Lambert) who spends centuries battling the Kurgan, another immortal warrior, must be well-known by now. Two plot threads run in parallel with the scenes flipping between them; one in the sixteenth century, when Connor first discovers he is immortal and is trained by fellow-immortal Ramirez (played by Sean Connery) and one in 1985 when the climactic battle takes place.
I have to say that I was rather dissatisfied. There are yawning plot holes, with no attempt at any explanation for what is going on and why. Lambert makes a broodingly impressive hero but the Kurgan is a cardboard cut-out villain and the rest of the cast (except Connery) are unmemorable. I found the background pop music jarringly inappropriate, and the whole film rather pretentious and overblown. It compares badly with some of the more recent superhero movies. I gather it has cult status and is highly regarded compared with the sequels, so I won't be wasting time on them…
Friday, 10 December 2010
The Mammoth Book of Best New SF 21, edited by Gardner Dozois (Part 4)
The final batch of eight stories.
The Accord by Keith Brooke. A far-future story of people living pleasant, simple lives on a backward planet, all believing in a supernatural life-force called the Accord. Then an anomalous character appears to disturb the peace - and it becomes apparent that the world is not at all what it seems. An intriguing story concerning reality and identity. I recently reviewed Brooke's YA novel, The Unlikely World of Faraway Frankie.
Laws of Survival by Nancy Kress. A dystopian future in which, following nuclear war, unseen and mysterious aliens arrive and establish impenetrable grey domes close to the sites of destruction. A woman, barely existing from hand to mouth by following her own rigid rules of survival in a collapsed world, finds herself inside one of the domes and learns that the aliens have their own bizarre priorities.
The Mists of Time by Tom Purdom. A fascinating tale of a future in which a kind of time travel is possible with great difficulty - but only to observe the past, invisible to the people then. Only one visit to any scene is permitted to avoid any risk of problems, and the time-travel rig takes only two people. A wealthy man funds a mission to film a crucial incident in the life of an ancestor, the young commander of a small Royal Navy vessel cruising on anti-slavery patrol off North Africa in the 19th century, but the film-maker who goes with him has her own ideas of what kind of film she wants to make. The viewpoint alternates between the young commander and his descendent, watching and listening in fascination. Combat at sea in the days of sail is richly and tensely evoked, and the difference in attitudes and priorities between the observed and the observers wryly portrayed. A gem of a story.
Craters by Kristine Kathryn Rusch. Another dystopian future in which young children are turned into unwitting suicide bombers by having bombs undetectably inserted into them, timed to explode years later. A reporter visits a dangerous refugee camp to try to determine the truth behind the incidents.
The Prophet of Flores by Ted Kosmatka. A alternative present-day Earth in which the accepted scientific methods of dating the past appear to prove that nothing is more than 6,000 years old, so the Bible is regarded as literally and unchallengeably true. Hominim remains discovered by archaeologists are categorised as "human" (tool users deriving from Adam and Eve) or "not human", but these careful distinctions - along with the archaeologists - come under threat when the remains of the small humans of Flores are discovered.
Stray by Benjamin Rosenbaum and David Ackert. A bizarre little fantasy of an immortal, able to command anyone to adore and follow him, who falls to Earth in a segregated America, determined to try to live as a human.
Roxie by Robert Reed. A man's life with his old and ailing dog, told against the background of an impending major asteroid strike on Earth. Hugely sentimental, and for dog lovers only.
Dark Heaven by Gregory Benford. Aliens in the form of vaguely humanoid amphibians have arrived on Earth as peaceful visitors, and live in a few specially-made structures on the edge of the oceans, rarely seen by most people. But then bodies start being found with mysterious injuries, and a police detective in the southern USA begins to suspect that the presence of the nearby alien base may not be coincidental.
Something of a marathon effort, this; I don't think I've read so many short stories in such a brief period of time. The book provides a fascinating cross-section of the state of SF short fiction today, and reveals it to be at least as varied and interesting as it has ever been. The stories are all of a high standard, and the choice of favourites will be determined by the preferences of the reader. Of this group, I most enjoyed the tale by Purdom, and also liked the ones by Brooke, Kosmatka and Benford. My overall selection of ones I liked most from each batch (which also happen to be the ones I liked most overall) is:
Finisterra by David Moles (first batch - reviewed 18 September) - the overall winner.
Alien Archeology by Neal Asher (second batch - reviewed 8 October)
Hellfire at Twilight by Kage Baker (third batch - reviewed 6 November)
The Mists of Time by Tom Purdom (final batch)
The Accord by Keith Brooke. A far-future story of people living pleasant, simple lives on a backward planet, all believing in a supernatural life-force called the Accord. Then an anomalous character appears to disturb the peace - and it becomes apparent that the world is not at all what it seems. An intriguing story concerning reality and identity. I recently reviewed Brooke's YA novel, The Unlikely World of Faraway Frankie.
Laws of Survival by Nancy Kress. A dystopian future in which, following nuclear war, unseen and mysterious aliens arrive and establish impenetrable grey domes close to the sites of destruction. A woman, barely existing from hand to mouth by following her own rigid rules of survival in a collapsed world, finds herself inside one of the domes and learns that the aliens have their own bizarre priorities.
The Mists of Time by Tom Purdom. A fascinating tale of a future in which a kind of time travel is possible with great difficulty - but only to observe the past, invisible to the people then. Only one visit to any scene is permitted to avoid any risk of problems, and the time-travel rig takes only two people. A wealthy man funds a mission to film a crucial incident in the life of an ancestor, the young commander of a small Royal Navy vessel cruising on anti-slavery patrol off North Africa in the 19th century, but the film-maker who goes with him has her own ideas of what kind of film she wants to make. The viewpoint alternates between the young commander and his descendent, watching and listening in fascination. Combat at sea in the days of sail is richly and tensely evoked, and the difference in attitudes and priorities between the observed and the observers wryly portrayed. A gem of a story.
Craters by Kristine Kathryn Rusch. Another dystopian future in which young children are turned into unwitting suicide bombers by having bombs undetectably inserted into them, timed to explode years later. A reporter visits a dangerous refugee camp to try to determine the truth behind the incidents.
The Prophet of Flores by Ted Kosmatka. A alternative present-day Earth in which the accepted scientific methods of dating the past appear to prove that nothing is more than 6,000 years old, so the Bible is regarded as literally and unchallengeably true. Hominim remains discovered by archaeologists are categorised as "human" (tool users deriving from Adam and Eve) or "not human", but these careful distinctions - along with the archaeologists - come under threat when the remains of the small humans of Flores are discovered.
Stray by Benjamin Rosenbaum and David Ackert. A bizarre little fantasy of an immortal, able to command anyone to adore and follow him, who falls to Earth in a segregated America, determined to try to live as a human.
Roxie by Robert Reed. A man's life with his old and ailing dog, told against the background of an impending major asteroid strike on Earth. Hugely sentimental, and for dog lovers only.
Dark Heaven by Gregory Benford. Aliens in the form of vaguely humanoid amphibians have arrived on Earth as peaceful visitors, and live in a few specially-made structures on the edge of the oceans, rarely seen by most people. But then bodies start being found with mysterious injuries, and a police detective in the southern USA begins to suspect that the presence of the nearby alien base may not be coincidental.
Something of a marathon effort, this; I don't think I've read so many short stories in such a brief period of time. The book provides a fascinating cross-section of the state of SF short fiction today, and reveals it to be at least as varied and interesting as it has ever been. The stories are all of a high standard, and the choice of favourites will be determined by the preferences of the reader. Of this group, I most enjoyed the tale by Purdom, and also liked the ones by Brooke, Kosmatka and Benford. My overall selection of ones I liked most from each batch (which also happen to be the ones I liked most overall) is:
Finisterra by David Moles (first batch - reviewed 18 September) - the overall winner.
Alien Archeology by Neal Asher (second batch - reviewed 8 October)
Hellfire at Twilight by Kage Baker (third batch - reviewed 6 November)
The Mists of Time by Tom Purdom (final batch)
Friday, 3 December 2010
The Weaving by Gerald Costlow
This is a first novel by an author who has had numerous short stories published. The outline of the plot of The Weaving, featuring princes and kings, witches, wizards and shapeshifters, goddesses and an evil demon, all set against a medieval background , sounds very familiar and not all that promising. However, this one is a bit different.
The heroine of the story is the Witch of the Woods, a magically powerful young woman whose pining for romance results in a change to reality, delivering a loving husband to her but also freeing a long-incarcerated demon, in the form of an attractive woman, to begin to rebuild her evil empire. Two plot threads run in parallel; a supernatural one as the various magical powers prepare for the final confrontation, and a more mundane one of rivalries between small kingdoms preparing for war. There are twists, turns and unpredictable developments leading up to the unexpected conclusion.
This story turned out to be more enjoyable than I had anticipated. Gerald Costlow turns a mature and perceptive eye on the proceedings, successfully bringing his interesting characters to life and leavening his writing with a wry and sometimes saucy humour which prompted more than a few smiles.
(An extract from my SFF blog)
The heroine of the story is the Witch of the Woods, a magically powerful young woman whose pining for romance results in a change to reality, delivering a loving husband to her but also freeing a long-incarcerated demon, in the form of an attractive woman, to begin to rebuild her evil empire. Two plot threads run in parallel; a supernatural one as the various magical powers prepare for the final confrontation, and a more mundane one of rivalries between small kingdoms preparing for war. There are twists, turns and unpredictable developments leading up to the unexpected conclusion.
This story turned out to be more enjoyable than I had anticipated. Gerald Costlow turns a mature and perceptive eye on the proceedings, successfully bringing his interesting characters to life and leavening his writing with a wry and sometimes saucy humour which prompted more than a few smiles.
(An extract from my SFF blog)
Saturday, 27 November 2010
Interzone 231
The November/December issue of the British SFF magazine is a Jason Sandford special, focusing on the work of this US writer. He has already had several highly-regarded short stories published in Interzone which I have reviewed in previous posts, and this issue features three new ones. There is also a long interview (with Andy Hedgecock) in which he explains his view that a new form of genre writing is developing, which he dubs SciFi Strange. He says this "sets high literary standards, experiments with style, is infused with a sense of wonder, takes the idea of diverse sexuality for granted, focuses on human values and needs, and explores the boundaries of reality and experience through philosophical speculation." Which all sounds very impressive, but for me bottom line is simply "is it a good read?"
Peacemaker, Peacemaker, Little Bo Peep (illustrated by Warwick Fraser-Coombe) is the first of his stories. The population of the USA is gradually fragmenting into a patchwork of lynch mobs trilling "Peace!" as they slaughter not just criminals but anyone using violence - including police officers and soldiers. A policewoman escapes with the aid of a serial killer and discovers the chilling truth behind the frenzy.
Memoria (illustrated by Richard Wagner) is next up. Spacecraft travel between parallel worlds, but there is a price to be paid by some of the crew; possession by ghosts of the dead. Criminals escape jail by volunteering to be the "shields" to experience this, gradually losing their memories and minds from the impact of the series of imposed personalities. But it all goes wrong when a new sort of possession afflicts one crew, and they learn why civilisations on parallel Earths have destroyed themselves.
Millisent Ka Plays in Realtime (illustrated by David Senecal) completes the trio of Jason Sandford stories. A future in which the economy runs on time - people's life time. Whenever a citizen wants something - to be educated or to be healed, or just to shop - the price is paid in the form of a specified period of time, ranging from seconds to years, for which they are committed to serve the Lord who provides such services. Their accumulated debt is burned into their genes so it can never be lost. But what might happen if someone discovers that the system isn't infallible? A young musician finds out.
So, do Sandford's stories live up to the billing? The plots are complex and the reader only gradually discovers what is going on; they need careful reading - some passages more than once - which might absorb some readers and irritate others. His writing is to a high standard, the ideas are original, there is a strong "sense of strange" infusing each one (particularly Memoria), and, yes, they are good reads.
There are two other stories in this issue:
The Shoe Factory by Matthew Cook, illustrated by Ben Baldwin. A man keeps being distracted from his solitary mission on a doomed spacecaft by spells of reliving a past life with a former girlfriend. Can he escape by recreating his former existence? A strange story with a complex structure; I wasn't sure what was going on until the end (and I wasn't entirely certain even then).
The Shipmaker by Aliette de Bodard, illustrated by Richard Wagner. A story set in this author's "Xuya continuity", an alternative Earth in which the Chinese discovered America before Columbus. A Grand Master of Design Harmony, responsible for integrating all of the aspects of a spaceship project ready for the new Mind which will be uniquely capable of transforming the ship into a viable entity, is thrown into a crisis when the Mind is born too soon. There is an appealingly lyrical flavour to this author's writing.
In addition, the usual book, film and DVD reviews are present and correct, and I notice that a favourite TV series from my young adulthood, The Avengers Series Five (the first series in colour) is now available on DVD, featuring the wonderful Diana Rigg as the action woman Emma Peel. That should brighten up a lot of lives.
Peacemaker, Peacemaker, Little Bo Peep (illustrated by Warwick Fraser-Coombe) is the first of his stories. The population of the USA is gradually fragmenting into a patchwork of lynch mobs trilling "Peace!" as they slaughter not just criminals but anyone using violence - including police officers and soldiers. A policewoman escapes with the aid of a serial killer and discovers the chilling truth behind the frenzy.
Memoria (illustrated by Richard Wagner) is next up. Spacecraft travel between parallel worlds, but there is a price to be paid by some of the crew; possession by ghosts of the dead. Criminals escape jail by volunteering to be the "shields" to experience this, gradually losing their memories and minds from the impact of the series of imposed personalities. But it all goes wrong when a new sort of possession afflicts one crew, and they learn why civilisations on parallel Earths have destroyed themselves.
Millisent Ka Plays in Realtime (illustrated by David Senecal) completes the trio of Jason Sandford stories. A future in which the economy runs on time - people's life time. Whenever a citizen wants something - to be educated or to be healed, or just to shop - the price is paid in the form of a specified period of time, ranging from seconds to years, for which they are committed to serve the Lord who provides such services. Their accumulated debt is burned into their genes so it can never be lost. But what might happen if someone discovers that the system isn't infallible? A young musician finds out.
So, do Sandford's stories live up to the billing? The plots are complex and the reader only gradually discovers what is going on; they need careful reading - some passages more than once - which might absorb some readers and irritate others. His writing is to a high standard, the ideas are original, there is a strong "sense of strange" infusing each one (particularly Memoria), and, yes, they are good reads.
There are two other stories in this issue:
The Shoe Factory by Matthew Cook, illustrated by Ben Baldwin. A man keeps being distracted from his solitary mission on a doomed spacecaft by spells of reliving a past life with a former girlfriend. Can he escape by recreating his former existence? A strange story with a complex structure; I wasn't sure what was going on until the end (and I wasn't entirely certain even then).
The Shipmaker by Aliette de Bodard, illustrated by Richard Wagner. A story set in this author's "Xuya continuity", an alternative Earth in which the Chinese discovered America before Columbus. A Grand Master of Design Harmony, responsible for integrating all of the aspects of a spaceship project ready for the new Mind which will be uniquely capable of transforming the ship into a viable entity, is thrown into a crisis when the Mind is born too soon. There is an appealingly lyrical flavour to this author's writing.
In addition, the usual book, film and DVD reviews are present and correct, and I notice that a favourite TV series from my young adulthood, The Avengers Series Five (the first series in colour) is now available on DVD, featuring the wonderful Diana Rigg as the action woman Emma Peel. That should brighten up a lot of lives.
Friday, 19 November 2010
Lost SF Classics in the New Scientist
The New Scientist magazine is a serious journal aimed at keeping the scientific community (plus interested bystanders like me) up to date with current developments across the whole field of science. However, the editor obviously has a soft spot for science fiction, as occasional pieces about it appear. The most recent example was in the 23 October issue, in which ten prominent scientists and writers were asked to nominate a lost SF classic. Their choices, with their comments, were as follows:
Dark Universe by Daniel F Galouye, nominated by the biologist (and atheist flag-bearer for Darwin's theory of evolution) Richard Dawkins. "…hauntingly imaginative, and uses the medium of science fiction to let the reader reconstruct how myths can start."
Journey of Joenes by Robert Sheckley, nominated by James Lovelock (who invented the Gaia concept). "...a mid 20th century version of Voltaire's Candide. I like it because I am often asked to predict the future state of the world and authors like Voltaire, Wells, Orwell and others of their kind appeal more than purely technical prophets."
The Cyberiad by Stanislaw Lem, nominated by cosmologist Sean Carroll. "...a wide-ranging exploration of robotics, technology, computation and social structures."
Random Acts of Senseless Violence by Jack Womack, nominated by cyberpunk novelist William Gibson. "It's a book you really have to read to see why."
New Maps of Hell by Kingsley Amis, nominated by Robert May (former UK Chief Scientific Adviser). "…a scholarly review which takes science fiction seriously."
We by Eugene Zamiatin, nominated by novelist Margaret Atwood (winner of the 1987 Arthur C. Clarke Award for the novel The Handmaid's Tale). "…contains the rootstock of two later themes - the creepy, too-smiley utopia, as in Brave New World, and the Big Brother dystopia, as in 1984."
Last and First Men by Olaf Stapledon, nominated by SF author Stephen Baxter. "…a kind of god's-eye-view survey of the human far future, as bracing and original today as it was when first published…"
Floating Worlds by Celia Holland, nominated by SF author Kim Stanley Robinson. "…Holland's immense power as a novelist, and her new take on old science fiction themes, turn everything to gold."
The Listeners by James Gunn, nominated by SETI astronomer Seth Shostak. "I read this book two decades ago when I was first becoming involved with the search for cosmic company…"
Earth Abides by George R. Stewart, nominated by physicist Freeman Dyson. "It's a sensitive human drama, with California providing the enduring natural environment as background."
An interestingly varied selection. Of the ten, I have only one on my shelves (New Maps of Hell) although I recall reading (and being impressed by) Floating Worlds, and assume (simply because they are so well known - not exactly "lost" classics) that I probably read Last and First Men plus Earth Abides a long time ago when I absorbed large quantities of SF every week, although I don't remember them. I have certainly read books by Galouye, Sheckley, Lem and Gunn, although I don't recall the specific titles mentioned. I fear that when it comes to SFF, I have forgotten rather more than I remember!
Dark Universe by Daniel F Galouye, nominated by the biologist (and atheist flag-bearer for Darwin's theory of evolution) Richard Dawkins. "…hauntingly imaginative, and uses the medium of science fiction to let the reader reconstruct how myths can start."
Journey of Joenes by Robert Sheckley, nominated by James Lovelock (who invented the Gaia concept). "...a mid 20th century version of Voltaire's Candide. I like it because I am often asked to predict the future state of the world and authors like Voltaire, Wells, Orwell and others of their kind appeal more than purely technical prophets."
The Cyberiad by Stanislaw Lem, nominated by cosmologist Sean Carroll. "...a wide-ranging exploration of robotics, technology, computation and social structures."
Random Acts of Senseless Violence by Jack Womack, nominated by cyberpunk novelist William Gibson. "It's a book you really have to read to see why."
New Maps of Hell by Kingsley Amis, nominated by Robert May (former UK Chief Scientific Adviser). "…a scholarly review which takes science fiction seriously."
We by Eugene Zamiatin, nominated by novelist Margaret Atwood (winner of the 1987 Arthur C. Clarke Award for the novel The Handmaid's Tale). "…contains the rootstock of two later themes - the creepy, too-smiley utopia, as in Brave New World, and the Big Brother dystopia, as in 1984."
Last and First Men by Olaf Stapledon, nominated by SF author Stephen Baxter. "…a kind of god's-eye-view survey of the human far future, as bracing and original today as it was when first published…"
Floating Worlds by Celia Holland, nominated by SF author Kim Stanley Robinson. "…Holland's immense power as a novelist, and her new take on old science fiction themes, turn everything to gold."
The Listeners by James Gunn, nominated by SETI astronomer Seth Shostak. "I read this book two decades ago when I was first becoming involved with the search for cosmic company…"
Earth Abides by George R. Stewart, nominated by physicist Freeman Dyson. "It's a sensitive human drama, with California providing the enduring natural environment as background."
An interestingly varied selection. Of the ten, I have only one on my shelves (New Maps of Hell) although I recall reading (and being impressed by) Floating Worlds, and assume (simply because they are so well known - not exactly "lost" classics) that I probably read Last and First Men plus Earth Abides a long time ago when I absorbed large quantities of SF every week, although I don't remember them. I have certainly read books by Galouye, Sheckley, Lem and Gunn, although I don't recall the specific titles mentioned. I fear that when it comes to SFF, I have forgotten rather more than I remember!
Saturday, 13 November 2010
The First Men in the Moon (BBC TV)
This is a new adaptation of the famous 1901 novel by H.G.Wells, made for British television in 2010. It is remarkably faithful to the original (judging by the book's Wiki plot summary - I read it too long ago to recall anything about it), with few changes. One of them is evident from the start, which is set in 1968 at a fête to celebrate the imminent Moon landing. A boy wanders into a tent in which a very old man is showing an early film, purporting to be of the Wellsian story; for the old man is Bedford, who really was the first man in the Moon.
The scene then switches to Edwardian England and follows the plot of the novel very closely. We see Bedford, then a young, failed businessman, meet the brilliant and eccentric Professor Cavour and learn of his invention of cavorite - a liquid which, when it cools and dries, shields the force of gravity. They construct a space capsule which can be steered by rolling and unrolling blinds coated with cavorite, and arrive at the Moon. There they find that a local atmosphere, frozen in the long nights, forms in the heat of the lunar day, and they leave the capsule only to be captured by Selenites, large intelligent insects. One change from the book, necessary for even minimal acceptability, is that the fast-growing surface plants described by Wells are missing: the Selenites live entirely underground in a huge system of deep caverns with a permanent breathable atmosphere. In their attempt to escape, Bedford and Cavor split up. Bedford manages to reach the capsule and return to Earth but Cavour remains behind, working with the Selenites who learn his language and are very curious about the Earth - and cavorite. The ending differs from the original, in that the film neatly explains why the Moon is lifeless and airless today (although the very last scene rather spoils that).
There are some technically shaky aspects - BBC4 doesn't exactly have a Hollywood budget to work with, after all. While the initial action on the Moon's surface features the obligatory low-gravity slow-motion antics we are familiar with (plus an amusing Edwardian version of Armstrong's first words), this gets forgotten underground, with some vague hand-waving about gravity being stronger there. Despite this, it's an entertaining production, rich in period flavour, and well worth seeing.
The scene then switches to Edwardian England and follows the plot of the novel very closely. We see Bedford, then a young, failed businessman, meet the brilliant and eccentric Professor Cavour and learn of his invention of cavorite - a liquid which, when it cools and dries, shields the force of gravity. They construct a space capsule which can be steered by rolling and unrolling blinds coated with cavorite, and arrive at the Moon. There they find that a local atmosphere, frozen in the long nights, forms in the heat of the lunar day, and they leave the capsule only to be captured by Selenites, large intelligent insects. One change from the book, necessary for even minimal acceptability, is that the fast-growing surface plants described by Wells are missing: the Selenites live entirely underground in a huge system of deep caverns with a permanent breathable atmosphere. In their attempt to escape, Bedford and Cavor split up. Bedford manages to reach the capsule and return to Earth but Cavour remains behind, working with the Selenites who learn his language and are very curious about the Earth - and cavorite. The ending differs from the original, in that the film neatly explains why the Moon is lifeless and airless today (although the very last scene rather spoils that).
There are some technically shaky aspects - BBC4 doesn't exactly have a Hollywood budget to work with, after all. While the initial action on the Moon's surface features the obligatory low-gravity slow-motion antics we are familiar with (plus an amusing Edwardian version of Armstrong's first words), this gets forgotten underground, with some vague hand-waving about gravity being stronger there. Despite this, it's an entertaining production, rich in period flavour, and well worth seeing.
Saturday, 6 November 2010
The Mammoth Book of Best New SF 21, edited by Gardner Dozois (Part 3)
Into the third batch of eight stories (one more batch to go):
Sanjeev and Robotwallah by Ian McDonald. A youth in a future India is entranced by the remotely-controlled battle robots he sees in action and becomes determined to get involved. But reality proves less glamorous than he expected.
The Skysailor's Tale by Michael Swanwick. Another dissatisfied youth, this time in an alternative America in the Revolutionary War period. A vast British flying craft with a crew of a thousand, held up by a huge number of hydrogen-filled balloons, appears in the sky over his home town and of course proves irresistable to the youth. A story strong in atmosphere and convincing detail, as I have come to expect from this writer.
Of Love and Other Monsters by Vandana Singh. Yet another youth, in India again, who has the ability to weave minds together. He slowly finds out more about his origins as he constantly tries to escape the attentions of a man like himself - only far more powerful. An original and intriguing tale.
Steve Fever by Greg Egan. Dissatisfied youth number four (am I detecting a theme here?) in a future USA feels powerfully drawn to escape his farm and head for the city. But his impulse is not self-generated, and he is being called to the city for a bizarre purpose. A strange tale of nanobots out of control.
Hellfire at Twilight by Kage Baker. A time-travelling cyborg tasked with retrieving historical documents is sent back to the notorious Hellfire Club, a group of British aristocrats devoted to excess in depravity. He is after a Greek scroll describing the ceremony of the Eleusinian Mysteries , but find himself involved more closely than he expected. This one reminds me of Connie Willis's novel To Say Nothing of the Dog.
The Immortals of Atlantis by Brian Stableford. The destruction of fabled Atlantis, a biotechnologically advanced civilisation when the rest of humanity was still in the Stone Age, led the inhabitants to ensure their survival via latent mitochondrial DNA, which could be awakened in the unsuspecting carriers by the application of a sequence of drugs. An interesting notion given an unexpected twist in this short story, in which a woman in a present-day housing estate receives a peculiar visitor. I particularly enjoyed the wry description of the crime-ridden slum estate: "The Mormons and Jehovah's Witnesses had stopped coming to the estate years ago, because there were far easier places in the world to do missionary work - Somalia, for instance, or Iraq".
Nothing Personal by Pat Cadigan. A present-day US police detective is assailed by a growing feeling of dread, which seems to be associated with the natural deaths of two identical young girls. But much more than this is going on. Not time-travelling in this tale, but shifting between alternate realities.
Tideline by Elizabeth Bear. An crippled battle robot tries to use its last energy to create a suitable memorial for its dead human comrades on the beach of a distant shore, and strikes up an unlikely relationship with a young boy.
A varied mix of stories this time (except for the dissatisfied youths) with some original ideas and unpredictable plots, although the Bear story struck me as rather familiar. My favourites from this group are the ones by Swanwick and Baker.
Sanjeev and Robotwallah by Ian McDonald. A youth in a future India is entranced by the remotely-controlled battle robots he sees in action and becomes determined to get involved. But reality proves less glamorous than he expected.
The Skysailor's Tale by Michael Swanwick. Another dissatisfied youth, this time in an alternative America in the Revolutionary War period. A vast British flying craft with a crew of a thousand, held up by a huge number of hydrogen-filled balloons, appears in the sky over his home town and of course proves irresistable to the youth. A story strong in atmosphere and convincing detail, as I have come to expect from this writer.
Of Love and Other Monsters by Vandana Singh. Yet another youth, in India again, who has the ability to weave minds together. He slowly finds out more about his origins as he constantly tries to escape the attentions of a man like himself - only far more powerful. An original and intriguing tale.
Steve Fever by Greg Egan. Dissatisfied youth number four (am I detecting a theme here?) in a future USA feels powerfully drawn to escape his farm and head for the city. But his impulse is not self-generated, and he is being called to the city for a bizarre purpose. A strange tale of nanobots out of control.
Hellfire at Twilight by Kage Baker. A time-travelling cyborg tasked with retrieving historical documents is sent back to the notorious Hellfire Club, a group of British aristocrats devoted to excess in depravity. He is after a Greek scroll describing the ceremony of the Eleusinian Mysteries , but find himself involved more closely than he expected. This one reminds me of Connie Willis's novel To Say Nothing of the Dog.
The Immortals of Atlantis by Brian Stableford. The destruction of fabled Atlantis, a biotechnologically advanced civilisation when the rest of humanity was still in the Stone Age, led the inhabitants to ensure their survival via latent mitochondrial DNA, which could be awakened in the unsuspecting carriers by the application of a sequence of drugs. An interesting notion given an unexpected twist in this short story, in which a woman in a present-day housing estate receives a peculiar visitor. I particularly enjoyed the wry description of the crime-ridden slum estate: "The Mormons and Jehovah's Witnesses had stopped coming to the estate years ago, because there were far easier places in the world to do missionary work - Somalia, for instance, or Iraq".
Nothing Personal by Pat Cadigan. A present-day US police detective is assailed by a growing feeling of dread, which seems to be associated with the natural deaths of two identical young girls. But much more than this is going on. Not time-travelling in this tale, but shifting between alternate realities.
Tideline by Elizabeth Bear. An crippled battle robot tries to use its last energy to create a suitable memorial for its dead human comrades on the beach of a distant shore, and strikes up an unlikely relationship with a young boy.
A varied mix of stories this time (except for the dissatisfied youths) with some original ideas and unpredictable plots, although the Bear story struck me as rather familiar. My favourites from this group are the ones by Swanwick and Baker.
Sunday, 31 October 2010
The Unlikely World of Faraway Frankie by Keith Brooke
This recently published book, which has an introduction by Adam Roberts, is the tale of an overweight teenager, the butt of cruel humour at school, who escapes into vivid daydreams of the way he would like his world to be. He is shaken when he discovers that the real world is gradually changing to match his dreams - his broken family is reunited and even his twin sister, killed in an accident two years before, reappears as if nothing had happened. He finds that he is able, with an effort of will, to change events to suit himself. But no sooner does he master this than he realises that his control is being challenged and is beginning to slip; for there is a rival power in the town, the mysterious, never-seen Owner, who seems to know exactly what Frankie is up to.
The Unlikely World of Faraway Frankie has a clearly-written style which will appeal to young and old alike, with an engaging combination of closely observed reality against a surreal, dream-like background. The story of Frankie's forced growth to maturity holds the attention to the unexpected but satisfying conclusion. I suspect that this is one which will stay in my mind for a long time, and will remain on my shelf for a future re-read.
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A rare sighting recently - a new review of my novel Scales. It has appeared in THIS blog. An extract from the introduction to the review:
Most likely you haven’t read this book because you didn’t know it existed. The novel was published through Authors Online LTD a British company formed in 1997 which publishes novels online and can also now print novels on demand.
Before I say anymore, I have to be honest here, I know the author of this novel through cyberspace. Tony and I have both been active posters at Yahoo’s Classic Science Fiction Message Board for many years. So, I will admit that I might have some bias. But those who know me and/or those who have read some of my reviews, know that I’m not one that minces words or lets authors off easy.
So you know I am being completely honest when I say that Scales is such a great Science Fiction novel it deserved a Hugo Award nomination.
I’m sure those who haven’t read the book are sort of checking out mentally or thinking to themselves, “this guy is a really good friend.” But those who have read the novel understand why it is worthy of such high praise.
A reminder: you can read my thoughts on writing the novel, plus all published reviews, on my website HERE , where you can also download the entire novel as an e-book free of charge - and you're not likely to get a better offer than that all week!
The Unlikely World of Faraway Frankie has a clearly-written style which will appeal to young and old alike, with an engaging combination of closely observed reality against a surreal, dream-like background. The story of Frankie's forced growth to maturity holds the attention to the unexpected but satisfying conclusion. I suspect that this is one which will stay in my mind for a long time, and will remain on my shelf for a future re-read.
---------------------------------------
A rare sighting recently - a new review of my novel Scales. It has appeared in THIS blog. An extract from the introduction to the review:
Most likely you haven’t read this book because you didn’t know it existed. The novel was published through Authors Online LTD a British company formed in 1997 which publishes novels online and can also now print novels on demand.
Before I say anymore, I have to be honest here, I know the author of this novel through cyberspace. Tony and I have both been active posters at Yahoo’s Classic Science Fiction Message Board for many years. So, I will admit that I might have some bias. But those who know me and/or those who have read some of my reviews, know that I’m not one that minces words or lets authors off easy.
So you know I am being completely honest when I say that Scales is such a great Science Fiction novel it deserved a Hugo Award nomination.
I’m sure those who haven’t read the book are sort of checking out mentally or thinking to themselves, “this guy is a really good friend.” But those who have read the novel understand why it is worthy of such high praise.
A reminder: you can read my thoughts on writing the novel, plus all published reviews, on my website HERE , where you can also download the entire novel as an e-book free of charge - and you're not likely to get a better offer than that all week!
Friday, 22 October 2010
A Plague of Demons by Keith Laumer
This novel, first published in 1965, was one of my favourites from the period and I still have my well-worn 1967 paperback. It's several decades since I last read it so I thought I'd see how it stood up today.
I've already posted one review of a novel by this author (A Trace of Memory, reviewed 15 December 2007) which I started as follows:
"Keith Laumer (1925-1993) was a prolific American SF author who specialised in fast-paced adventure stories (of which the Bolo series, concerning intelligent tanks, is best known) and comic satire, notably in the Retief books about an interstellar diplomat. A Trace of Memory, published in 1963, is a stand-alone novel in the former category."
A Plague of Demons falls into the same category, being a short (170 page) and exciting adventure thriller. It is set on a near-future Earth and features a government agent, John Bravais, who is tasked with investigating the mysterious disappearance of large numbers of soldiers involved in the formalised battles then being used to settle disputes. He observes a dog-like alien - one of the demons of the title - decoying soldiers away from a battle and attacking them. He is able to kill one of these extremely tough creatures and take back evidence of its alien origin. His task then becomes the investigation of what is going on, and to assist him he is given a new programme of internal biomechanical enhancements which greatly increase his strength, endurance and survivability. The demons are quickly on his trail, assisted by their ability to manipulate people's minds so they can appear to be ordinary humans, and what follows is a running battle which ends up off the Earth as Bravais desperately tries to fulfil his mission against heavy odds. I can't say more without spoiling the surprises for any new readers, but I will say that this is the book whose popularity inspired the Bolo series.
The story is told in the first person with the laconic hard-boiled style of a Mickey Spillane thriller, including one-liner gems such as: "I was as weak as a diplomatic protest". There is also something of the flavour of Eric Frank Russell's novel Wasp, reviewed here on 26 August 2007. The introduction in particular reminded me of the start of a James Bond movie - I could visualise the film scenes as I read. In fact, the whole book would make a good film, with little need to change anything. Inevitably, the complex plotting and character development which feature in most modern novels are notable for their absence, but in this kind of story they would only slow the pace.
I was intrigued by a couple of scenes for a personal reason. In one of them Bravais, having just received his enhancements, breaks the machine used to test his strength. In another, he is able to use his mind (in this case aided by radio) to analyse and overcome electronic locks. As I read these I realised that I had included similar elements in my novel Scales, without being aware that I might be borrowing them from somewhere else. This isn't the first time this has happened to me and does make me think about the process of imaginative writing. Clearly, our imaginations are developed from and informed by our own experiences and previous reading, and it can be difficult to determine which are our own original ideas and which are those we might subconciously have recalled from a consciously long-forgotten story.
Anyway, to return to Laumer: I can well understand why I liked this book so much and can warmly recommend it to readers who enjoy the style and pace of these 1960s SF thrillers. It's such great fun, with an added dash of nostalgia!
I've already posted one review of a novel by this author (A Trace of Memory, reviewed 15 December 2007) which I started as follows:
"Keith Laumer (1925-1993) was a prolific American SF author who specialised in fast-paced adventure stories (of which the Bolo series, concerning intelligent tanks, is best known) and comic satire, notably in the Retief books about an interstellar diplomat. A Trace of Memory, published in 1963, is a stand-alone novel in the former category."
A Plague of Demons falls into the same category, being a short (170 page) and exciting adventure thriller. It is set on a near-future Earth and features a government agent, John Bravais, who is tasked with investigating the mysterious disappearance of large numbers of soldiers involved in the formalised battles then being used to settle disputes. He observes a dog-like alien - one of the demons of the title - decoying soldiers away from a battle and attacking them. He is able to kill one of these extremely tough creatures and take back evidence of its alien origin. His task then becomes the investigation of what is going on, and to assist him he is given a new programme of internal biomechanical enhancements which greatly increase his strength, endurance and survivability. The demons are quickly on his trail, assisted by their ability to manipulate people's minds so they can appear to be ordinary humans, and what follows is a running battle which ends up off the Earth as Bravais desperately tries to fulfil his mission against heavy odds. I can't say more without spoiling the surprises for any new readers, but I will say that this is the book whose popularity inspired the Bolo series.
The story is told in the first person with the laconic hard-boiled style of a Mickey Spillane thriller, including one-liner gems such as: "I was as weak as a diplomatic protest". There is also something of the flavour of Eric Frank Russell's novel Wasp, reviewed here on 26 August 2007. The introduction in particular reminded me of the start of a James Bond movie - I could visualise the film scenes as I read. In fact, the whole book would make a good film, with little need to change anything. Inevitably, the complex plotting and character development which feature in most modern novels are notable for their absence, but in this kind of story they would only slow the pace.
I was intrigued by a couple of scenes for a personal reason. In one of them Bravais, having just received his enhancements, breaks the machine used to test his strength. In another, he is able to use his mind (in this case aided by radio) to analyse and overcome electronic locks. As I read these I realised that I had included similar elements in my novel Scales, without being aware that I might be borrowing them from somewhere else. This isn't the first time this has happened to me and does make me think about the process of imaginative writing. Clearly, our imaginations are developed from and informed by our own experiences and previous reading, and it can be difficult to determine which are our own original ideas and which are those we might subconciously have recalled from a consciously long-forgotten story.
Anyway, to return to Laumer: I can well understand why I liked this book so much and can warmly recommend it to readers who enjoy the style and pace of these 1960s SF thrillers. It's such great fun, with an added dash of nostalgia!
Friday, 15 October 2010
Film - Prince of Persia: The Sands of Time
I quite enjoy popcorn movies when I'm in the mood for some mindless amusement, and I was encouraged by the fact that Prince of Persia was produced by the same man responsible for the entertaining Pirates of the Carribean trilogy, so I thought I'd give a spin.
Like PotC, PoP is an adaptation of a video game, but as I've never felt motivated to dabble in that field I can't comment on the relationship. The plot is the usual hokum, with the hero Prince, on the run after being wrongly accused of the murder of his father, having to prove his innocence while preventing bad guy Nizam from using the Dagger of Time to change the past to put himself on the throne. The CGI city looks impressive, the fireworks when the Dagger is used are spectacular, and the Prince (Jake Gyllenhaal - or at least his stunt double) puts on a suitably athletic display of parkour, free-running around the rooftops.
That's most of the good bits. Unfortunately Ben Kingsley's talents are wasted on a rather cardboard Nizam and Gemma Arterton is woefully miscast as the princess who is supposed to guard the Dagger of Time. This role calls for grace, gravitas and mystery, but I was constantly aware that Ms Arterton is a modern miss in dark makeup. In dramatic moments I kept expecting her to squeal "Oh My God!" and whip out her mobile phone to text to her friends. That's a pity considering that Bollywood is awash with beautiful Indian actresses who could do a more convincing job in their sleep, but I suppose Hollywood has its own parochial priorities.
On the other hand, perhaps they should have given Ms Arterton a mobile phone and played it for laughs, since the best bit of the film - and the only element which made the whole farrago enjoyable - was the comic performance by Alfred Molina as the bandit chief who cultivates a ferocious reputation in order to keep the tax collectors at bay, while he gets on with his favourite pastime of ostrich racing. I laughed out loud on several occasions when he was on screen, uttering decidedly modern-sounding opinions and reacting with Pavlovian fervour to the enticement: "It's tax free!".
Overall, the film lacks the panache of the PotC series, and sorely needs a strong central love/hate character like Johnny Depp's Captain Sparrow. Judging by the presence of the subtitle more films in this franchise could be on the way, but I doubt that I'll bother to watch them unless the fun quotient goes up markedly.
Like PotC, PoP is an adaptation of a video game, but as I've never felt motivated to dabble in that field I can't comment on the relationship. The plot is the usual hokum, with the hero Prince, on the run after being wrongly accused of the murder of his father, having to prove his innocence while preventing bad guy Nizam from using the Dagger of Time to change the past to put himself on the throne. The CGI city looks impressive, the fireworks when the Dagger is used are spectacular, and the Prince (Jake Gyllenhaal - or at least his stunt double) puts on a suitably athletic display of parkour, free-running around the rooftops.
That's most of the good bits. Unfortunately Ben Kingsley's talents are wasted on a rather cardboard Nizam and Gemma Arterton is woefully miscast as the princess who is supposed to guard the Dagger of Time. This role calls for grace, gravitas and mystery, but I was constantly aware that Ms Arterton is a modern miss in dark makeup. In dramatic moments I kept expecting her to squeal "Oh My God!" and whip out her mobile phone to text to her friends. That's a pity considering that Bollywood is awash with beautiful Indian actresses who could do a more convincing job in their sleep, but I suppose Hollywood has its own parochial priorities.
On the other hand, perhaps they should have given Ms Arterton a mobile phone and played it for laughs, since the best bit of the film - and the only element which made the whole farrago enjoyable - was the comic performance by Alfred Molina as the bandit chief who cultivates a ferocious reputation in order to keep the tax collectors at bay, while he gets on with his favourite pastime of ostrich racing. I laughed out loud on several occasions when he was on screen, uttering decidedly modern-sounding opinions and reacting with Pavlovian fervour to the enticement: "It's tax free!".
Overall, the film lacks the panache of the PotC series, and sorely needs a strong central love/hate character like Johnny Depp's Captain Sparrow. Judging by the presence of the subtitle more films in this franchise could be on the way, but I doubt that I'll bother to watch them unless the fun quotient goes up markedly.
Friday, 8 October 2010
The Mammoth Book of Best New SF 21, edited by Gardner Dozois (Part 2)
More stories from the anthology, following on from the first instalment posted on 18th September.
Glory by Greg Egan. Set in a far galactic future. Embodied virtual facsimilies of two explorers are sent to a newly discovered planet to find out what a previous alien civilisation had learned about advanced mathematics. But the current inhabitants have a war to fight.
Against the Current by Robert Silverberg. A man from the present day suffers a sudden reversal and watches in dismay as history rapidly rewinds before his eyes. More of a psychological mood piece than a story with a clear plot or purpose.
Alien Archeology by Neal Asher. A retired secret agent discovers an artifact of great value from an extinct alien race, only to have it violently taken from him. The star-hopping chase for restitution and revenge involves murky dealings in the galactic underworld, rogue AIs and the uneasy threat of what exactly it was that destroyed all previous galactic civilisations. A modern version of traditional SF by a rising star in the genre, densely-packed and fast-moving; the kind of writing that you have to read twice to make sure you've grasped it all. An unusual aspect is that the story is at first told from the villain's viewpoint (in the third person) before switching to the hero's (in the first person). One of the highlights of the anthology so far.
The Merchant and the Alchemist's Gate by Ted Chiang. A merchant in long-ago Baghdad tells a fantastic tale to the Caliph, concerning a gate through which people can travel twenty years into the future - or into the past. He recounts the varied fortunes of those who have used the gate, including himself. More of an Arabian Nights tale than conventional SF but a fascinating read. An intriguing contrast with the author's award-winning Exhalation, reviewed in this blog on 15 May 2009, which demonstrates the remarkable versatility of this master story-teller.
Beyond the Wall by Justin Stanchfield. Another complete contrast, as if to illustrate the vast range of modern SF. An enormous alien structure has been discovered on Titan and is promptly put out of bounds while countries try to decide what to do about it. A group of wardens tasked with protecting it from illegal explorers are compelled to enter it and find their hold on reality slipping as they experience alternate futures. An unsettling tale.
Kiosk by Bruce Sterling. A real oddity this one; a man living in eastern Europe after yet another major economic crisis makes use of a "fabrikator" - a machine which spins 3D models of anything it can scan - to start an economic revolution.
Last Contact by Stephen Baxter. I've commented before about the fundamental optimism of many of the stories in this collection, but here's a tale from the opposite end of the spectrum. Near-future astrophysicists discover that the Universe is unravelling, right down to the atomic level - and the Earth has just few months of existence left. This poignant story follows a middle-aged woman, the mother of one of the scientists who made the discovery, as she copes in mundane ways with the inescapable fact of impending annihilation.
The Sledge-Maker's Daughter by Alastair Reynolds. I'd read this one before and was sure I'd blogged about it, but I can find no reference so my memory must be at fault (again). Another one on the pessimistic side as far as human civilisation is concerned. A girl lives in a post-industrial Tyneside with a medieval level of technology, but discovers that the folk tales of winged men falling from the sky have substance, and that there is a lot going on behind the scenes. An intriguing tale, with a setting which would justify a full-length novel - which I would buy.
Half-way through the anthology - more later.
Glory by Greg Egan. Set in a far galactic future. Embodied virtual facsimilies of two explorers are sent to a newly discovered planet to find out what a previous alien civilisation had learned about advanced mathematics. But the current inhabitants have a war to fight.
Against the Current by Robert Silverberg. A man from the present day suffers a sudden reversal and watches in dismay as history rapidly rewinds before his eyes. More of a psychological mood piece than a story with a clear plot or purpose.
Alien Archeology by Neal Asher. A retired secret agent discovers an artifact of great value from an extinct alien race, only to have it violently taken from him. The star-hopping chase for restitution and revenge involves murky dealings in the galactic underworld, rogue AIs and the uneasy threat of what exactly it was that destroyed all previous galactic civilisations. A modern version of traditional SF by a rising star in the genre, densely-packed and fast-moving; the kind of writing that you have to read twice to make sure you've grasped it all. An unusual aspect is that the story is at first told from the villain's viewpoint (in the third person) before switching to the hero's (in the first person). One of the highlights of the anthology so far.
The Merchant and the Alchemist's Gate by Ted Chiang. A merchant in long-ago Baghdad tells a fantastic tale to the Caliph, concerning a gate through which people can travel twenty years into the future - or into the past. He recounts the varied fortunes of those who have used the gate, including himself. More of an Arabian Nights tale than conventional SF but a fascinating read. An intriguing contrast with the author's award-winning Exhalation, reviewed in this blog on 15 May 2009, which demonstrates the remarkable versatility of this master story-teller.
Beyond the Wall by Justin Stanchfield. Another complete contrast, as if to illustrate the vast range of modern SF. An enormous alien structure has been discovered on Titan and is promptly put out of bounds while countries try to decide what to do about it. A group of wardens tasked with protecting it from illegal explorers are compelled to enter it and find their hold on reality slipping as they experience alternate futures. An unsettling tale.
Kiosk by Bruce Sterling. A real oddity this one; a man living in eastern Europe after yet another major economic crisis makes use of a "fabrikator" - a machine which spins 3D models of anything it can scan - to start an economic revolution.
Last Contact by Stephen Baxter. I've commented before about the fundamental optimism of many of the stories in this collection, but here's a tale from the opposite end of the spectrum. Near-future astrophysicists discover that the Universe is unravelling, right down to the atomic level - and the Earth has just few months of existence left. This poignant story follows a middle-aged woman, the mother of one of the scientists who made the discovery, as she copes in mundane ways with the inescapable fact of impending annihilation.
The Sledge-Maker's Daughter by Alastair Reynolds. I'd read this one before and was sure I'd blogged about it, but I can find no reference so my memory must be at fault (again). Another one on the pessimistic side as far as human civilisation is concerned. A girl lives in a post-industrial Tyneside with a medieval level of technology, but discovers that the folk tales of winged men falling from the sky have substance, and that there is a lot going on behind the scenes. An intriguing tale, with a setting which would justify a full-length novel - which I would buy.
Half-way through the anthology - more later.
Friday, 1 October 2010
Interzone 230
The September/October edition of the SFF magazine celebrates 25 years of Nick Lowe's analytical and well-informed film reviews under the "Mutant Popcorn" banner, with a long article by Jonathan McCalmont, reviews of several current films (including an ambivalent one of Inception, which is on my must-see list), and a reprint of his first column from 1985 in which he reviewed Brazil, Night of the Comet, Trancers and Ghoulies. An interesting point is made that despite the fact that SFF novels are regarded as specialist reading for geeks (Harry Potter excepted), the genre has nonetheless produced seven of the ten biggest grossing films of all time. Discuss, as the exam paper says.
The usual book and DVD review columns include The Stainless Steel Rat Returns by Harry Harrison, the twelfth in his comic SF series which started in 1961 with the last addition being in 1999. I'll have to get this book, if only for pure nostalgia. There's also a welcome return of an old master with the publication of Fritz Leiber Selected Stories.
Five short stories this time:
Love and War by Tim Lees, illustrated by Richard Wagner. A dystopian near-future in which a war against vaguely humanoid jumblies from Earth X, a version of Earth in a parallel universe which is beginning to emerge in random patches on the Earth's surface, has led to the imposition of a dictatorship of "the Party" to defeat the threat. The eventual ending of these incursions does not, of course, lead to any more liberal government but instead the emergence (or invention) of yet another threat to maintain the Party in power. A parable for our security-obsessed times, in which our civil liberties are being steadily eroded to meet the terrorist threat. But how likely is it that all those laws extending government power will ever be repealed?
Age of Miracles, Age of Wonders by Aliette de Bodard, illustrated by Darren Winter. A surreal fantasy in which a robotic being parades a former god around the country, putting him to an agonising death (from which he returns) time and again to demonstrate to the people that the old gods are no longer in power. This author focuses on limited but intense scenes from fantastic futures, steeped in atmosphere and mystery.
The Insurance Agent by Lavie Tidhar, illustrated by Richard Wagner. A near-future thriller with a fantastical twist. A security consultant who specialises in bodyguarding celebrities is assigned to protect a Significant Entity (SE), a young woman who has achieved a god-like status as a result of the popularity of the Alien Theory of Spiritual Beings; a rather sardonic send-up of the tendency to elevate the status of the leaders of religious cults. He finds himself with more trouble than he expected when his SE meets a rival.
Camelot by Patrick Samphire, illustrated by Ben Baldwin. A tale of immortals cast out from Camelot, who have lost the memories of their past existence. An ageless man searches endlessly for his brother who went missing in World War 2, aided by a beautiful woman who knows about his past and has her own reason for finding his brother. However, success in his quest does not bring the expected result.
The Upstairs Window by Nina Allen, illustrated by Ben Baldwin. Another dystopian future in which the return of religious authority leads to censorship of the arts. A war correspondent is caught up in the fate of a controversial artist friend whom he tries to help.
A rather depressing batch of stories this time, distinctly lacking in optimism both in terms of their settings and their events. These stories make a stark contrast with the ones I reviewed a couple of weeks ago in The Mammoth Book of Best New SF 21, which are far more to my taste. I hope the mood improves in the next issue.
The usual book and DVD review columns include The Stainless Steel Rat Returns by Harry Harrison, the twelfth in his comic SF series which started in 1961 with the last addition being in 1999. I'll have to get this book, if only for pure nostalgia. There's also a welcome return of an old master with the publication of Fritz Leiber Selected Stories.
Five short stories this time:
Love and War by Tim Lees, illustrated by Richard Wagner. A dystopian near-future in which a war against vaguely humanoid jumblies from Earth X, a version of Earth in a parallel universe which is beginning to emerge in random patches on the Earth's surface, has led to the imposition of a dictatorship of "the Party" to defeat the threat. The eventual ending of these incursions does not, of course, lead to any more liberal government but instead the emergence (or invention) of yet another threat to maintain the Party in power. A parable for our security-obsessed times, in which our civil liberties are being steadily eroded to meet the terrorist threat. But how likely is it that all those laws extending government power will ever be repealed?
Age of Miracles, Age of Wonders by Aliette de Bodard, illustrated by Darren Winter. A surreal fantasy in which a robotic being parades a former god around the country, putting him to an agonising death (from which he returns) time and again to demonstrate to the people that the old gods are no longer in power. This author focuses on limited but intense scenes from fantastic futures, steeped in atmosphere and mystery.
The Insurance Agent by Lavie Tidhar, illustrated by Richard Wagner. A near-future thriller with a fantastical twist. A security consultant who specialises in bodyguarding celebrities is assigned to protect a Significant Entity (SE), a young woman who has achieved a god-like status as a result of the popularity of the Alien Theory of Spiritual Beings; a rather sardonic send-up of the tendency to elevate the status of the leaders of religious cults. He finds himself with more trouble than he expected when his SE meets a rival.
Camelot by Patrick Samphire, illustrated by Ben Baldwin. A tale of immortals cast out from Camelot, who have lost the memories of their past existence. An ageless man searches endlessly for his brother who went missing in World War 2, aided by a beautiful woman who knows about his past and has her own reason for finding his brother. However, success in his quest does not bring the expected result.
The Upstairs Window by Nina Allen, illustrated by Ben Baldwin. Another dystopian future in which the return of religious authority leads to censorship of the arts. A war correspondent is caught up in the fate of a controversial artist friend whom he tries to help.
A rather depressing batch of stories this time, distinctly lacking in optimism both in terms of their settings and their events. These stories make a stark contrast with the ones I reviewed a couple of weeks ago in The Mammoth Book of Best New SF 21, which are far more to my taste. I hope the mood improves in the next issue.
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