Interzone 237

The November/December issue of the British SFF magazine emerged just too soon to cover the death of Ann McCaffrey, the prolific SFF writer who will always be remembered for her creation of the world of Pern and its huge, telepathic dragons. I still remember the delight with which I first read Dragonflight in 1970 and it remains one of my favourite SFF novels. It stood up very well to a recent reading, following which I reviewed it on this blog (see the review list on the left).

The cover art is by Richard Wagner, who is also the subject of the editorial and of an interview on the magazine's ttapress.com website. David Langford's Ansible Link includes mention of a Heinlein award to Connie Willis for "SF or technical non-fiction that inspires human exploration of space", which puzzled me because all of her work that I know about is very much set on Earth. There are the usual book, DVD and film reviews which I will, as usual, study carefully to see if there is anything I should be adding to my "to read" and "to watch" lists.

Just four stories this time:

The Last Osama by Lavie Tidha, illustrated by Steve Hambidge. Purportedly told by one of the soldiers who killed Osama bin Laden, it is set in a surreal future in which people become Osama as if it were an infectious disease. Decidedly bizarre.

Erasing the Concept of Sex from a Photobooth by Douglas Lain, illustrated by David Gentry. This one defeats my powers of summary description. Suffice to say that it features sex and a weird photobooth. Even more bizarre.

Insect Joy by Caspian Gray. A young woman is sensitive to all creatures, including insects, and has a very strange form of control over them. Yep, you guessed it, this one's bizarre.

Digital Rites by Jim Hawkins, illustrated by Richard Wagner. Famous actors begin to die in a competitive future in which they don't actually do any acting - they just pose for the news media - but are linked by quantum entanglement to their characters in virtual film productions in order to animate them more effectively. The chase to discover what's going on, to overcome the studio's crisis and to complete the film they're working on makes an intriguing story which seems remarkably mundane in this company.

I was getting worried by the time I reached the final story because the first three were not much to my taste, but Hawkins' tale (by far the longest of the four) I read with some relief as I found it much more engaging and enjoyable, even if I didn't entirely follow all of the plot threads and the ending seemed a bit too neat.

Films: The Ninth Gate (1999) and Pirates of the Caribbean: On Stranger Tides (2011)

This time we have two Johnny Depp films for the price of one.

I hadn't previously seen The Ninth Gate. Depp plays Dean Corso, a mercenary book dealer who is hired by Boris Balkan (Frank Langella) to verify the authenticity of a rare book he owns, The Nine Gates of the Kingdom of Shadows, of which only three copies are known. The book contains nine engravings which legend says were drawn by the Devil and will summon him if used in the correct way.

Corso searches for information about the book and visits the owners of the other two copies to make direct comparisons. Along the way he meets the previous owner of Balkan's copy (Lena Olin) who is desperate to recover it, and keeps seeing a mysterious unnamed girl (Emmanuelle Seigner) who has a knack of turning up at the right moment to save him from danger. Corso discovers that only three engravings in each copy are genuine - it is necessary to bring them all together to achieve the desired effect. The bodies begin to pile up as rivals compete to obtain the nine genuine engravings, culminating in occult ceremonies.

This is described as a horror film, which surprises me as there is nothing particularly horrific - or even occult - about it. It is quite low-key and slow-paced, and is best regarded as a mystery. The only supernatural elements are a couple of gravity-defying tricks by the unnamed girl, and the very last scene which frankly left me baffled as to what it all meant. However, the film is stylish, looks good and is moderately entertaining; and, if nothing else appeals, male viewers can enjoy the sight of Olin and Seigner!

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The fourth of the Pirates of the Caribbean films has Depp once again reprising his role as the iconic Captain Sparrow, although the two secondary stars of the earlier films (Keira Knightley and Orlando Bloom) disappear and Penélope Cruz joins the crew as Sparrow's love interest. The only other memorable characters are Ian McShane as Blackbeard and the young mermaid Syrena, played rather fetchingly by Àstrid Bergès-Frisbey.

I don't have a lot to say about this one. It's just more of the same, but not a lot more. I expected Cruz to pair very well with Depp but her performance never takes off and there is zero chemistry between them. In fact, the entire cast seems subdued, as if they're not having much fun. Even Depp's performance (as usual, the main reason to watch the film) is toned down, and the film lacks the joie de vivre which made the earlier ones (especially the first) so enjoyable. I note that this film had a different director from the first three, Rob Marshall replacing Gore Verbinski, and apparently the budget didn't allow for as many special effects, both of which presumably contributed to the malaise.

The film finished with lots of dangling loose ends and two more sequels are reportedly planned, which just goes to prove (once more) that Hollywood can't see a dead horse without giving it a thorough flogging.

Short Stories: Novice by James H Schmitz; The Eyes Have It by Randall Garrett

The Classic Science Fiction discussion group selects one short story a week (from those available free online) to read and discuss, as well as the monthly pair of novels. I don't usually read them because I spend so much time on a computer anyway that I don't like to read fiction on it as well, and I don't have an e-reader because I have so many paper books stacked up awaiting my attention. However, I happened to have the two stories above in paper anthologies, so I re-read them. Both stories were written in the 1960s and both are the first of series: the Telzey Amberdon and Lord Darcy stories respectively.

In Novice, Schmitz's far-future Telzey Amberdon is a teenage girl with very high-status parents who happens to have a genius level intelligence, remarkable maturity and competence, and nascent psi powers. Oh, and she's good-looking too. If this all sounds like someone you would hate, prepare to be surprised - Schmitz makes us like her and you'd need a heart of stone not to be cheering her on by the end of the story. Sent away on holiday with her sweetly poisonous aunt to a strange planet with only her pet giant cat of unknown species, Tick-Tock, as a friendly face, Telzey soon discovers that her aunt has hatched a plot to deprive her of her pet. For Tick-Tock is a native of the planet - a species now believed to be almost extinct - and is therefore subject to confiscation. But Telzey also discovers that the giant cats are far from extinct, and she becomes involved in a dangerous scheme to outwit her aunt and survive the close attention of the ferocious felines.

In complete contrast, the Lord Darcy tales are set on an alternate Earth of vaguely Victorian technology and even earlier social development in which France and the UK are one country, North America is still a colony and the nobility are very much in charge. Oh, and magic works and is openly practiced - provided that it is sanctioned by the church. Lord Darcy is a criminal investigator who puzzles out seemingly impossible crimes with the aid of his assistant, a magician who has all kinds of useful abilities. So these stories are in effect a mixture of Sherlock Holmes, magical fantasy and steampunk. The most famous of them is the full-length novel, Too Many Magicians, but there are also nine short stories, of which The Eyes Have It was the introductory tale, concerning the mysterious murder of a lecherous nobleman. Those interested in these stories should look for the 2002 publication, Lord Darcy, which includes all of the stories as well as the novel.

These two stories may appear to have nothing in common, but that's not the case - they are both huge fun to read, light and entertaining, and were very popular in their day, resulting in several sequels. They date from an altogether more innocent age of SFF, which is an important aspect of their charm.

Climate Change News

Those who urge taking action to avert climate change have had a bad couple of years. First, there was "Climategate" - the hacking of damaging emails from the Climatic Research Unit at the University of East Anglia, then the row over the use of a wildly inaccurate claim concerning the melting of Himalayan glaciers in a publication by the Intergovernmental Panel on Climate Change (IPCC) - the body tasked with reviewing and assessing research - and finally the failure of the 2009 UN Climate Change Conference in Copenhagen to reach a meaningful international agreement on addressing global warming.

This triple blow seriously damaged the public perception of the seriousness of the threat from climate change. Even worse, the global financial crisis and resulting economic fallout have convinced many people that there are far more important and urgent problems to throw resources at. This has all combined to undermine political support, as most clearly demonstrated by the increasingly sceptical public statements of the Republican candidates for next year's US Presidential election.

However, there has been more encouraging news recently. Most notably, the conclusions of the Berkeley Earth Project, which was set up in the wake of Climategate to take a fresh look at the evidence. As reported by the BBC, the project was established by a noted climate change sceptic, University of California physics professor Richard Muller, with the help of funding from sources which included charitable foundations maintained by the Koch brothers, the billionaire US industrialists who have donated large sums to organisations lobbying against acceptance of man-made global warming.

Despite these unpromising circumstances, Professor Muller's team conducted an exhaustive analysis of all of the available data from the three major centres for climate research, whose work had been decried as unreliable and shoddy in climate sceptic circles: the collaboration between the UK Met Office and UEA's Climatic Research Unit; the National Oceanic and Atmospheric Administration; and the National Aeronautics and Space Administration. The Berkeley Earth Project finally concluded that the research and analyses carried out by these three groups was fundamentally correct.

"Our biggest surprise was that the new results agreed so closely with the warming values published previously by other teams in the US and the UK," said Prof Muller.

"This confirms that these studies were done carefully and that potential biases identified by climate change sceptics did not seriously affect their conclusions."

This is worth emphasising: a thorough scientific study, funded with the help of climate sceptics and headed by a scientist who was himself a climate change sceptic, has concluded that those scientists warning about climate change were right all along. This deserves all the publicity it can get.

Next came calls for tougher action on climate change from big business in the form of The Corporate Leaders Group, a network of nearly 200 major companies spread over 30 countries, as described here.

This stance was supported by the Institutional Investors Group on Climate Change, representing more than $20 trillion in assets including banking giants HSBC and BNP Paribas, who argued that the governments which were acting quickly to implement tough climate policies would reap the biggest investments and the biggest rewards.

What Do We Know?

So what is the current state of scientific research into climate change? What is known and, of equal importance, not known? The New Scientist magazine has helpfully put together a simple guide to exactly that, here. To summarise very briefly:

We know that greenhouse gases are warming the planet, but we don't know how far the levels of these gases will rise.

We know that other pollutants are cooling the planet, but we don't know by how much.

We know that the planet is going to get a lot hotter, but we don't know how much hotter, nor how the climate will change in specific regions.

We know that the sea level is going to rise by many metres, but we don't know how quickly this will happen.

We know that there will be more floods and droughts, but we don't know whether there will be more hurricanes and the like.

Finally, we don't know how serious a threat global warming is to life, nor if and when "tipping points" (causing sudden accelerations in warming) will be reached.

It is of course frustrating that scientists cannot be more specific about what is going to happen where and when, but the massive complexity of the processes involved preclude this. Probably as a result, the public acceptance of the need for action - more specifically, the need for action which is costly now in order to stave off disaster later - is still not strong enough for most political leaders to take the action required. At the moment, the warming trends are steadily upwards, with the very limited reductions in carbon emissions achieved by the developed world swamped by the increasing industrialisation of the developing world - especially China and India - and the ever-growing global population which has now (more or less) reached seven billion and is projected to reach 9 or 10 billion by the middle of the century.

It is becoming ever more certain that we will not act effectively enough, quickly enough, to reduce our greenhouse gas emissions to the extent needed to prevent global temperatures from rising to dangerous levels by the end of this century. Can anything else be done? The obvious answer is geoengineering - technical fixes to counteract the rise in greenhouse gases - and it may be significant that public acceptance of such an approach seems to be growing as described here. However, as I have already discussed in this article, there are serious problems with this approach.

The path our generation takes now will decide what sort of future the next few generations will experience. At the moment, there appear to be few grounds for optimism. When faced with difficult and painful decisions, people are very prone to go through several stages (as governments have been doing over the current international financial crisis):
1. Denying there's a problem.
2. Hoping that it will go away if it's ignored for long enough.
3. Hoping that something will come up which will make hard decisions unnecessary.
4. Finally, reluctantly, taking the minimum action after waiting for as long as possible.

The problem with this tried-and-tested approach to muddling through is that the climate has enormous inertia. By the time the need for action has become obvious to all, the climate changes will have gathered such momentum that they will quite possibly be unstoppable. Humanity needs to fasten its metaphorical seat belt - we're in for a very rough ride.

Film: The Extraordinary Adventures of Adèle Blanc-Sec (2010)

Something different in the way of cinematic pleasure this time. The Extraordinary Adventures of Adèle Blanc-Sec is a French film (subtitled) based on a Franco-Belgian comic strip relating the varied fantastical adventures of Adèle (Louise Bourgoin) a resourceful young reporter and author.

The place is Paris, the time a hundred years ago. The plot concerns Adèle's attempts to find a way of curing her twin sister, who has been in a coma for five years following a freak accident. Her search involves an Indiana Jones-style escapade in Egypt to find and recover the mummy of a noted doctor to a pharaoh (whom she believes is the only person who might succeed in reviving her sister). She hopes that a scientist, Professeur Espérandieu, will be able to bring the mummy back to life - as the Professeur has developed a telepathic method for rousing the dead. Unfortunately, in Adèle's absence he has been practicing his skills and has managed to cause a pterodactyl to hatch from its egg in a museum and terrorise Paris, resulting in his arrest. So first Adèle has to spring him from prison, then get him to revive the mummy so it can treat her sister, but (needless to say) all does not go to plan. To make matters worse, a big-game hunter has been recruited to shoot the pterodactyl, but its fate is closely tied to that of the Professeur.

This film certainly dispels any notion that the French can't take a joke against themselves. Many of the characters are broad caricatures of French stereotypes, with only Adèle being played straight - if you can believe in a young woman who confidently overcomes all obstacles, including imminent execution, with remarkable style and sang-froid. This is a zany comedy (some might say bonkers) with a laugh in every scene, and is quite unlike anything else; The Mummy might be the closest I've seen, although in comparison that seems like a serious horror drama.

The film might best be summed up as "magnificently silly". It is intended to be the first of a trilogy, which I hope comes to pass: I'll be waiting in the queue to see the others.

Tau Zero by Poul Anderson

Poul Anderson was one of the most productive SFF writers of the second half of the last century, publishing about a hundred books and winning seven Hugo and three Nebula awards. His first book was published in 1953 and his last fifty years later, two years after his death. Tau Zero was published in 1970 and was nominated for a Hugo. When it was selected for the reading list of the Classic Science Fiction discussion group I was surprised to discover that I had never read it, so I obtained a new copy (published by Gollancz under the SF Masterworks label).

The plot is simple: a colonisation ship with fifty people on board leaves Earth for another solar system where a probe had reported a habitable planet. En route, the ship runs into trouble and cannot decelerate. The only chance of survival is to keep accelerating closer and closer to light speed in order to maximise the time dilation effect and travel as far as possible; initially to find space empty enough to shut off the drive and protective screen in order to carry out repairs, and secondly to find a zone where the conditions are right for them to stop and find a place to live.

There are two threads running through this story: the first is a very technical, hard-science description of the functioning of the Bussard ramjet, the implications of the ship's velocity getting ever closer to the speed of light, and the structure and evolution of the universe. The second is the human story of the effect of their situation on the crew and scientists on board the ship, as time outside passes at an ever-increasing rate compared with time inside.

Like nearly all SF of the period, this story is about ideas more than people. If the title had not already been pre-empted by the famous short story, the novel might accurately have been called The Cold Equations. Having said that, the main characters are drawn well enough to carry the plot, while time has not been kind to the science. The effectiveness of the Bussard ramjet concept (very popular in the 1960s and 70s) has since been questioned and the future of the universe is now believed to be somewhat different from that shown in the book.

This story makes an interesting contrast with Niven's A World Out of Time published a few years after Tau Zero and reviewed on this blog recently. This also features a Bussard ramjet making an enormous journey to gain the benefit of time dilation, but Niven's story concerns itself much more with the social, genetic and technical changes which take place on Earth over the aeons and, to me at least, is all the more interesting and enjoyable as a result.

Tau Zero may not be the most enjoyable of tales, but it is deservedly a classic for its exploration of the science of relativity and its potential consequences.

Replay by Ken Grimwood

This book, first published in 1986, won the World Fantasy Award two years later. I read it over twenty years ago and was most impressed, but found myself strangely reluctant to read it again; I only did so because it was one of the books of the month in the Classic Science Fiction discussion group.

The plot concerns Jeff Winston, an American in his early forties, unsuccessful in his career and with a failing marriage, who dies apparently of a massive heart attack - and then regains consciousness twenty-five years in the past, in his own eighteen-year-old body, with all his memories intact.

This is the start of a fascinating "what would you do if…?" premise which is explored in detail throughout the story. What Jeff initially does is to use his memories to make a fortune and enjoy the good life, but does he really become happier as a result, and can he use his knowledge to forestall some of the disasters which have afflicted the world?

There are many twists and turns in the story but it is difficult to say more without spoilers. So I will just say that it is a great, thought-provoking read which I am happy to recommend to anyone, SFF fan or not. If you want to read the book and would rather discover its surprises for yourself (which I strongly recommend) then stop reading NOW!

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The first twist in the story comes when Jeff once again reaches the age at which he previously "died" - and the same thing happens again. Once more he is eighteen, back in the early 1960s, with all his memories from both previous lives intact. This time he takes a different tack, marries his childhood sweetheart and lives a moderate and happy life. Until he reaches his "death age" when, despite having checked himself into hospital and been pronounced in excellent health, it happens again. Now he swings to the opposite extreme in angry defiance about what is happening to him until, disgusted with the emptiness of his life, he withdraws into isolation.

The next twist then occurs - Jeff discovers he is not the only "replayer" and meets up with Pamela Phillips, whose experiences match his own, except that she is out of sequence; they die at about the same time, but she is younger and is "replayed" at a later date. They become lovers, but discover that each time they are revived, it is at a later age - and getting later at a rapidly increasing rate. The gap between their revivals also increases rapidly, causing havoc with their relationship. They finally decide to "go public" in an attempt to discover what is happening to them, with devastating consequences. Eventually Jaff and Pamela manage to find a kind of peace, if not happiness, which seems the best they can hope for.

I think I know why I was reluctant to read the book again - a reluctance which disappeared as soon as I became caught up in it. As it develops, the story becomes an emotional roller-coaster and is very moving by the end. The message initially seems somewhat depressing - no matter how hard you try, you can't make things better for any more than a handful of people - but there is a kind of redemption as well. In the end, it is concerned with the philosophy of living, and the characters are all too human in their hopes and failings. The final lesson is an old but true one: we only have one life, so we need to make the best of it that we can.

Replay is an original and well-written tale, which draws the reader into it ever more deeply as the plot develops: it deserves to be a classic.

Flatland by Edwin A Abbott

Flatland, subtitled A Romance of Many Dimensions, was first published in 1884. It is difficult to describe or draw parallels with this book, since as far as I'm aware it is unique, and it has maintained an almost hidden cult status ever since.

The nameless narrator lives on a world of two dimensions - a flat surface - in which all the inhabitants are geometrical shapes. The simplest are the women, who are straight Lines, next come Isosceles Triangles (the wider the angle, the higher the status). Equilateral Triangles are next up the social scale, followed by Squares (like the narrator) then Pentagons and Hexagons and so on, until the highest status of all - the Circle. It is every inhabitant's wish to improve the prospects of his male offspring by carefully choosing his Wife to ensure that their shapes become more regular or many-sided with each generation. Our Square narrator, for instance, has a Pentagon son and a Hexagon grandson. This element of the story is a satirical reference to the rigid social structures of the contemporary Victorian society, in which a high priority was given to trying to climb that social ladder from one generation to the next.

Our narrator has an unusually imaginative mind and has visions of other worlds, including a one-dimensional Lineland and even a zero-dimensional Pointland, and has fun with satirising the rigid assumptions held by the inhabitants of these lands, each believing that there is no world with more dimensions than their own. That also applies to his Flatland homeland, where it is heretical to suggest that there could ever be more than two dimensions. So he is greatly disturbed to be visited by a being who appears to be a Circle but keeps changing in size, something which cannot happen in Flatland. He gradually realises that the visitor is a Sphere from a three-dimensional world (of whom he can only see a two-dimensional "slice") and is led to an understanding of what such a world would be like. Inevitably, his discoveries get him into trouble with the Flatland authorities.

Flatland can't really be assessed in any conventional way, in terms of plot, characterisation or drama. It is more of a thought experiment than anything else - an intriguing and rather appealing one. Since it is only a novella of some 80 pages, it is easy enough to read and worth the effort for a unique experience.

Interzone 236

A slightly confusing start to the Sep-Oct issue of the Brit SFF magazine, with an editorial concerning the forthcoming arrival of a new film about The Avengers. I was intrigued but sceptical, since I couldn't imagine any actress matching up to my youthfully enthusiastic memories of Diana Rigg as Emma Peel, until it gradually dawned on me that this was a different kind of Avengers, based on yet another US superhero comic strip. I am rather puzzled by the apparently inexhaustible demand for such movies; no doubt PhD theses are being written linking this to a fall in national confidence or something.

I note that Connie Willis won the Hugo for her pair of novels Blackout/All Clear, but although I enjoy her writing (despite a tendency to repetition in her novels), the total page count of these two doorstops is enough to deter me from starting. At my normal rate of progress it would take me several weeks, at least, to read them.

The cover art is Beacon by Richard Wagner, a classic SF/mystery vision showing strange spaceships being drawn to a beacon rising from a bleak moorland landscape, with a robed figure in the foreground.

Now to the stories:

A Time for Raven by Stephen Kotowych, illustrated by Richard Wagner. A short, atmospheric fantasy combining native American mythology with present day concerns garnished with a helping of supernatural mystery.

The Ever-Dreaming Verdict of Plagues by Jason Sandford, illustrated by Jim Burns. A sequel to Plague Birds (see issue #228), set far into a future in which technological civilisation has collapsed, leaving behind Artificial Intelligences which assist scattered villages. AIs also inhabit the blood of the Plague Birds - peripatetic female judge/executioners who have the ability to determine right from wrong. This time, a village AI proves to be rather more than expected.

The Metaphor by Fiona Moore. A rather haunting short story from the viewpoint of a nameless narrator (whether male or female is never clear) living alone in a deserted world. From time to time, s/he feels compelled to visit a series of empty taverns in a ritual designed to keep some dread happening at bay. The story is interspersed with extracts from a report written in a different reality, which gradually build up a picture of what is really happening.

The Fall of the City of Silver by Jon Ingold, illustrated by Martin Hanford. A morality fantasy of the destruction of the semi-mythical city of Tartessos in southern Spain, told by a girl who did not survive the fall.

Tethered by Mercurio D. Rivera, illustrated by Ben Baldwin. Yet another of this author's stories concerning the relationship between humanity and the advanced alien Wergen race, who find humans irresistably attractive.

Not such an appealing bunch for my taste this time, but I admired Moore's cleverly-constructed story and Sandford is always worth reading.

Film: King Arthur (2004)

This one falls loosely into the "fantasy" category. It is a very different take on the Arthurian legend, and is claimed to be far more realistic than the usual medieval mythology. The hero, Artorius Castus (Clive Owen), is depicted as a commander of the Sarmatian cavalry, an auxiliary force to the Roman Army, based in Britain by Hadrian’s Wall at the time of the Roman departure in the fifth century AD. He and his men have to cope with a Saxon invasion as well as incursions by the savage "Woads" (Picts, who allegedly adorned themselves with woad – blue dye – when preparing for battle).

Artorius's "knights" are a rough and shaggy lot of pagans (light years from the usual virginal Christian knights in shining armour) who have earned their impressive reputation the hard way, in savage hand-to-hand fighting. There's quite a lot of that in the film. They have come to the end of their fifteen-year contracts of service with Rome and are looking forward to returning home to the Middle East when they are ordered on one last, seemingly suicidal mission, over the wall and into Woad territory, right in the path of the invading Saxons. The end result is the climactic battle of Mount Badon.

About the only relationship to the traditional Arthurian characters is the names: not just Artorious/Arthur but Lancelot, Galahad, Bors, Tristan and Gawain all feature. Merlin is the leader of the Woads (with no suggestion of magical powers) and there's also Guinevere (Keira Knightley), a feisty Woad warrior whom the Sarmatians pick up on the way. A round table is slipped in (in a different context) but there's no mention of Camelot or the Holy Grail.

Is it realistic? Well, the setting is historically not far out; the first and only credible mention of Arthur (written centuries after he is believed to have lived) places him in approximately that time and place, although the timing is compressed somewhat - the Romans were long gone by the the late fifth/early sixth century, when he is historically supposed to have lived. The Battle of Mount Badon is believed to have some basis in fact, although no-one knows where it actually happened. And in the first tales he was no king, but a noted warrior who fought alongside the British kings. All of the medieval twaddle which has since accrued around the Arthurian myth was entirely invented from the twelfth century onwards.

Clive Owen makes a good fist of the Arthur role, and on the whole I enjoyed the film. For me, the least realistic element was Guinevere - or rather, Keira Knightley. She is a photogenic and popular young actress who is often cast for that reason - and quite frequently miscast, as in this film. My suspension of disbelief slipped badly the moment I heard her cut-glass voice emerged from a supposedly savage Woad. While she does a reasonably good bloodthirsty impression, I couldn't see the skinny arms of her size zero body pulling a war bow or wielding a sword in battle. And where did she get lipstick from? Oh well, I suppose that some cinematic conventions must be determinedly protected against the onset of too much reality.

The Barsoom Project by Larry Niven and Steven Barnes

The Barsoom Project, published in 1989, is the sequel to Dream Park, which I reviewed a couple of years ago so I won't repeat the basic background - please read the Dream Park review for that (see the list of reviews in the left column). The Barsoom Project features the same principal character, Alex Griffin, the Head of Dream Park Security, and the plot follows a similar pattern in having two parallel threads. One thread features Griffin's attempts to unravel a murder within a game which happened eight years before, while simultaneously trying to uncover a plot against Dream Park itself. While ostensibly what the plot is all about, in practice this is only an minor distraction from the main thread, which follows the progress of several characters participating as players or actors in a new game: a version of the Fimbulwinter game which was the venue for the old murder, but this time recast as a "Fat Ripper Special", aimed at helping obese people lose weight.

An additional plot element is kept in the background until close to the end - the attempt by the Dream Park organisation to promote the real-life colonisation of Mars by means of a skyhook, or space elevator. This Barsoom Project provides the title to the book, although it's hard to see why since most of the story is concerned with the progress of the Fimbulwinter game, set in the Arctic and featuring Inuit (Eskimo to us oldies) mythology.

I had some issues with aspects of the story. I was not entirely convinced by the economics of the Dream Park games, nor by the logic of the "fat rippers"; even if their experiences encouraged the game-players to change their diets (although it wasn't obvious why it should), why would it have the same effect on overweight computer gamers? However, the biggest problem with this story for me is that it lacked much in the way of dramatic tension, simply because the reader knows from the start that the constant stream of bizarre dangers faced by the participants in the game is not real - if they are "killed" in the game, they simply retire uninjured. Now it could be argued that, by definition, fiction is "not real" anyway, but in a conventional story the author and reader conspire to pretend that what is going on is genuine so that tension can be built up to high levels - that simply doesn't happen here (in fact participants in the game have to be reminded that they need to lie still and be quiet when they're "dead"). As in Dream Park, the criminal in the story is unmasked at the end without any prior clues to allow readers to work out who it might be.

Despite this, the many who loved Dream Park will I expect enjoy The Barsoom Project. As I'm not interested in role playing games it took me some time to get into the story, although the pace picked up after the half-way point. I found it moderately entertaining, but it doesn't really add anything to Dream Park. On checking my previous review I was reminded that there is a third book in this series, The (California) Voodoo Game (which I have read, although I recall nothing about it) and I see a fourth has just been published, The Moon Maze. I think I might pass on that one - initial reviews are not encouraging.

Film: Source Code (2011)

I have been looking forward to watching Source Code ever since I saw director Duncan Jones' highly impressive debut film Moon. I was not disappointed.

US Army helicopter pilot Captain Colter Stevens (Jake Gyllenhaal), on active service in Afghanistan, abruptly finds himself travelling on a train to Chicago, sitting opposite an attractive young woman who clearly knows him. To add to his confusion, when he sees himself in a mirror the face which looks back at him is not his, and he discovers that he is known as Sean Fentress. He is still trying to understand what is happening when a bomb explodes on board the train, killing him and everyone else on board.

He wakes up again in a strange cockpit-like capsule, in CCTV communication with Air Force Captain Goodwin (Vera Farmiga). She explains to him that he has been in the "Source Code", an experimental environment which enables him to experience the lives of people in an alternate reality for eight minutes after their deaths. The people in the train are already dead - he can't save them but he has been sent to identify the bomber since it is believed that a second and much larger "dirty" bomb is due to be detonated in Chicago by the same man. The film follows Stevens' efforts to find the bomber as he is repeatedly sent back to experience the same eight minutes before the explosion. Along the way, he learns more about his own circumstances and becomes convinced that the alternate world in the Source Code is not what it seems.

Like Moon this has an intelligent and intriguing script (by Ben Ripley), is crisply directed by Jones and very well acted, by Gyllenhall and the excellent Farmiga (who impresses me more every time I see her). By modern standards it is relatively low-key with no hype and few special effects; the concentration is on the characters and the story. There is no padding and its 93 minute running time is short, but perfectly judged. It has immediately jumped onto my shortlist of favourite SF films, and I eagerly await Jones' next film.
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A few domestic notices:

When I started this blog I expected to focus on reviewing novels but films have been increasingly featuring (with the occasional TV programme thrown in), so I decided to create an index to these reviews. You can find it in the left-hand column immediately below the book review list. Just click on any title that interests you and you'll be taken straight to it.

I have been pondering offering my novels in Kindle versions. I don't have an e-reader myself, simply because I have about a hundred unread paperbacks stacked on my floor and hundreds more on my shelves that I want to read again, which are likely to keep me going until Kindle has become obsolete. However, I gather that it is proving a successful medium for self-publishers like me, so I might try offering Scales on it, just to test the water. If that works it might motivate me to finish my third novel, which has been sitting untouched for a couple of years now.

Some gratifying reviews lately on amazon.co.uk for my alternative World War 2 novel, The Foresight War. Nice to see that it's still gathering fans and sales more than seven years after publication. Thank you to all those who have taken the trouble to post your thoughts about it.

Down Town by Viido Polikarpus and Tappan King

Cary Newman, a boy brought up in the country, is appalled to find himself living in New York following the collapse of his parents' marriage. Swept away from his mother by flowing crowds in the subway, he loses consciousness and wakes to find himself in a different version of the subway in a different version of New York: Down Town.

Down Town is the place in which everything and everybody no longer wanted in Up Town New York ends up. It has many levels, with the most recent at the top and the most ancient at the bottom. The inhabitants are the dispossessed and rejected, and they vary in size, becoming steadily smaller the longer they are there. Cary falls in with a gang of street children led by the pugnacious Allie, a girl his own age. Allie takes pity on him and agrees to try to find a way to return Cary to Up Town, since he doesn't seem to belong in Down Town. Their journey through varied scenes is hindered by the attempts of the black-clad Badmashers, led by the sinister Commander Brand, to apprehend him, but aided by an network of colourful friends. It gradually becomes apparent that Cary has a special purpose for being there, to preserve Down Town - and even Up Town - from being taken over and ruined by a rapacious organisation.

This is the first time I have re-read this book since the late 1980s (it was first published in 1986) and I had forgotten that it was aimed at younger readers. Still, I have a fondness for such stories about parallel realities into which people can fall, and this one is rather good. It has some clear messages about balancing technological advances with concern for the environment, as well as developing loyalty and determination in its young protagonists.

Down Town reminded me of several other more recent stories on my shelves, two of which I have reviewed here (see the reviews list in the left column): particularly Un Lun Dun by China Miéville and to a lesser extent The Ragchild by Steve Lockley and Paul Lewis (the first review I ever posted on this blog). Another one which comes to mind is Neil Gaiman's Neverwhere, and of course the prototype and inspiration for all such stories, Lewis Carroll's Alice in Wonderland, which I haven't read since I was a child and really must renew my acquaintance with!

Films: The Jacket (2005), and Alien Resurrection (1997)

The Jacket is a time-travelling film with an unusual twist or two. WARNING: some spoilers.

Soldier Jack Starks (Adrien Brody), seriously wounded in the 1991 Gulf War, returns to the USA and begins to hitch his way across country. After helping a mother and her young daughter with a car breakdown, he becomes inadvertently caught in the crossfire of a gunfight between a police officer and a criminal in which the officer dies. Starks is found guilty of his murder and sent to a mental institution where he receives experimental treatment involving drugs, a straitjacket, and sensory deprivation. During these sessions, he travels in time to 2007 where he meets and begins a relationship with the girl, now a young woman (Keira Knightley). He discovers that not only is the girl's mother due to die in the early 1990s, but so is he. His efforts to discover what will happen to him and to change the future make up the rest of the film.

This is an engaging low-key drama with Brody (whom I can't recall seeing before) putting in a convincing and affecting performance. I do have a small logical niggle: I can accept for the purposes of fiction the concept of someone time-travelling in a mental, non-physical way, or even travelling physically from one time to another, but Starks travels physically to the future while still leaving a physical body in the past, which I found a bit confusing. I understand that the film wasn't a commercial success, but I liked it and think it's well worth seeing.

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I recently saw Alien Resurrection for the first time; I saw its three predecessors soon after they were released (Alien in 1979, Aliens in 1986 and Alien 3 in 1992). An 18 year spread from first to last with the same principal character in all of them (Sigourney Weaver as Lt Ellen Ripley) is quite an achievement.

Since Ripley died at the end of Alien 3, for Alien Resurrection she is reconstructed as a clone, 200 years later, from a blood sample she left shortly before her death. At that time she was a host to an alien queen and, in the cloning process, the two sets of DNA became mixed, resulting in Ripley having enhanced strength and speed plus corrosive blood, as well as a mental link to the aliens. The military scientists who clone her aboard a spaceship are primarily interested in extracting the alien queen from her in order to breed the species, but once the queen has grown it predictably escapes. The film then becomes the usual battle for survival aboard the spaceship with Ripley and a dwindling band of survivors trying not just to escape but also to prevent the aliens reaching Earth.

The original film rightly became one of the classics of SF, but this one adds little to it. There are no real surprises this time around, although Weaver dominates the film in a compelling performance as the part-alien Ripley. Worth watching if you enjoyed the others.

The Curse of Chalion by Lois McMaster Bujold

Bujold is best known for her excellent Vorkosigan SF series (five of which I have already reviewed on this blog, with several more waiting to be read) but The Curse of Chalion is a classic medieval-with-magic fantasy.

The story is set on an unspecified planet with vague geography (no maps) which seems to be a kind of alternative Earth, judging by the plants and animals described. There are the usual small kingdoms in uneasy juxtaposition, fighting occasional wars in various combinations. Military technology consists of swords and crossbows. The religion has five gods with different roles (although one bunch of heretics only worships four), but while there is occasional evidence that the gods exist, they rarely get involved in human affairs. There isn't even any magic in the usual sense of practitioners casting spells, with one exception: Death Magic. Anyone can learn how to do this, with enough research and determination; it involves calling on one of the gods to send a demon to kill a hated enemy. The only catch is that the person working the magic invariably dies too.

The hero of the story, Cazaril, is a minor lord and former courtier and soldier who has fallen on hard times due to betrayal and subsequent slavery. Penniless, exhausted, and still half-crippled by injury, he makes his way to Valenda, a city in the land of Chalion in whose court he had worked as a young page some twenty years before, in search of some menial job and a place to live. There he meets Iselle, a royesse (princess) of Chalion, and finds himself reluctantly roped in to act as her secretary/tutor. He tries to impart some of his hard-won wisdom to the headstrong young royesse but when the action moves to the royal court in Cardegoss, Cazaril is tested to the limit in his determination to protect Iselle from the political and magical dangers surrounding her.

The setting sounds somewhat unoriginal as similar territory has been marched over countless times by other authors, but Bujold adds her own distinctive style. She is a natural and intelligent story-teller, injecting occasional flashes of wry humour (an element which tends to be sadly lacking in fantasy, in which authors often take their creations much too seriously). Her characterisation is as good as usual and the reader soon comes to care about her characters and what happens to them. There is something of the flavour of Guy Gavriel Kay in the writing, but Bujold is less dark and elegiac. After a slowish start the pace gradually accelerates and I read the last half of this substantial (500 page) tome in one sitting, late into the night: something which I rarely do.

The Curse of Chalion may appear somewhat formulaic but if you enjoy this kind of story this is about as good as it ever gets.

Films: Unbreakable (2000) , and X-Men: The Last Stand (2006)

A contrasting pair of superhero movies this week.

This was my first viewing of Unbreakable, which I knew nothing about except that it was a superhero movie. Indeed, this was my first complete viewing of any film by M. Night Shyamalan, so I wasn't sure what to expect. What I saw surprised me: it is indeed a superhero movie, but of a most unusual kind.

Bruce Willis plays David Dunn, a security guard, who survives uninjured a train wreck which kills everyone else on board. He is approached by Elijah Price (Samuel L. Jackson) who has a genetic brittle bone disorder, and whose passion for superhero comics leads him to believe that Dunn is his opposite - someone who cannot be injured. Dunn refuses to believe this but as he thinks back through his life he realises that he cannot recall ever being injured or even sick. Furthermore, Price forces him to confront the fact that he appears to have an instinct in his work for spotting people who are carrying weapons or otherwise likely to make trouble.

Dunn's life is complicated by his crumbling relationship with his wife (Robin Wright Penn) and the passionate belief of his young son, who is aware of Price's theory. Eventually, he puts the theory to the test, leading to a climax with a dramatic and unexpected twist.

The film is slow-paced, reflective, and notably lacking in the usual chases, explosions, violence (except for one brief scene) and CGI spectaculars. The director's focus is on how an ordinary man copes with the notion of being a superhero, making it a far more adult and thoughtful production than the other superhero movies I've reviewed. The acting throughout is good; even the seemingly obligatory family-problems-with-appealing-kid fit in well and are not objectionable. The ending seemed tailor-made for a sequel, but none has emerged. Recommended.

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X-Men: The Last Stand is the third of the franchise. I reviewed its two predecessors here and here .

The new plot element this time is the discovery of a treatment for mutants which permanently suppresses their powers, and the conflicts this re-starts both within the mutant community (which seems to have multiplied dramatically) and between the mutants and humanity. Sadly, this one isn't up to the same standard as the others (I gather that the director changed) with the focus very much on the action rather than the more thoughtful aspects of the earlier films. The whole film basically leads up to the final climactic battle which seems to settle everything, but there was a teaser at the end to suggest that maybe, it might not…

Nemesis by Bill Napier

Having read and enthusiastically reviewed Bill Napier's The Lure, I promptly ordered all of his earlier books, of which the first to be published was Nemesis.

The setting is the near future, and the basic plot element a familiar one: a giant asteroid is believed to be on a collision course with Earth. There is a twist here, though - there is intelligence that its course is not accidental but has been modified by a resurgent and strongly nationalist Russian leadership to strike the continental USA, "accidentally" destroying the country without incurring the immediate response of a nuclear counter-strike. The problem is that no-one in the USA knows which asteroid has been selected, where it is, or when it might strike.

Oliver Webb, a British astronomer and astrophysicist, is one of a small international team assembled by the US government to work in secrecy to identify and locate the asteroid and devise a plan for diverting it from its course. The secrecy is necessary because of a fear that if the Russians found out that their plan had been discovered, they might launch a nuclear first strike for fear that the USA would do the same. Strong voices on the US side, alarmed by the possibility that the asteroid could arrive with little or no warning, are indeed urging a first strike by the USA while it is still possible.

Against this tense background, Webb and the rest of the team are in a race against time, which involves locating a rare and ancient book by an early Italian astronomer which is believed to hold information vital to identifying the asteroid. Scenes of their struggle against increasing odds are interwoven with those of political infighting in the US government and also with some from the past, in which the Italian astronomer faces trial for his heretical beliefs about the nature of the Solar System. As in The Lure, the arguments debated in these scenes are well thought through and convincing.

Arthur C. Clarke is quoted on the cover as having described Nemesis as "The most exciting book I have ever read". I wouldn't go quite that far, but it is certainly a page-turner and I can understand Clarke's enthusiasm since Napier, a professional astronomer, share's Clarke's interest in including a lot of accurate and realistic astronomical science. He also shares Clarke's rather weak development of his characters. The book is a very good read and while the writing has some rough edges, it is a remarkable achievement for a first novel. Not surprisingly, it is not quite as good as The Lure, mainly because the plot elements (not the asteroid but the human shenanigans) are rather more far-fetched, but it can still be confidently recommended to anyone who enjoys this kind of near-future science thriller.
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I had heard good things about Nick Harkaway’s The Gone-Away World, published in 2009, so I bought a copy and settled down to enjoy the read. The story starts in a confusing future, when it is clear that something has gone drastically wrong with Earth; what is left of humanity survives in the Livable Zone. The first chapter concerns a team of people dealing with an unexpected emergency, but the reader is left dangling as to what this might be as the second chapter jumps back in time to the early childhood of two of the team members - the book's main protagonists - at a time when the world was much as it is now. Most of the rest of the book then works its way forwards to the events of the first chapter.

There’s some memorable writing but much of the book consists of digressive sub-plots rambling around all over the place. Some of them are amusing set-pieces but they turn the story into a patchwork quilt which only occasionally remembers that it's supposed to lead somewhere. I wanted to like this story and stuck with it for more than half the book, but finally admitted defeat and stopped reading when I realised that I was becoming more and more reluctant to pick it up and wasn't interested in discovering the ending.

I can see, in an objective sort of way, why the book attracted some enthusiastic reviews, but it simply failed to grip me. Which just demonstrates (if it needs demonstrating) that every book ever published has some readers who love it and some who don't.

Films: Tron (1982) and Tron Legacy (2010)

I saw Tron once before, but so long ago that I had forgotten all but the basic premise of a man stuck in a computer game. So I decided that a second viewing was due before watching the long-delayed sequel.

It's hard to think back over the changes in the digital world since Tron was made. According to Wiki, 1982 was the year when "the Internet Protocol Suite (TCP/IP) was standardized and the concept of a world-wide network of fully interconnected TCP/IP networks called the Internet was introduced", although the impact of the internet on popular culture was still more than a decade away. This was the first film to be mostly based on computer-generated visuals, and it made quite an impact when it first appeared. It even predated Neuromancer, the innovative novel imagining what it might be like for a human mind in a computer network. So it has a secure place - indeed a cult status - in the history of SF films: but how does it stand up now?

The film focuses on four characters who are present in both the real and digital worlds: Jeff Bridges plays the computer games designer Kevin Flynn (and also his virtual equivalent, an independent programme called Clu), cheated out of his successful inventions by the head of software company ENCOM, (David Warner). The others are two ENCOM employees (Bruce Boxleitner and Cindy Morgan) who help Bridges to break into the company's mainframe to find evidence of Warner's guilt. However, the mainframe has literally developed a mind of its own, the MCP (Master Control Program) which is able to "capture" Bridges and trap him in a virtual game world. Most of the film consists of the three heroes battling their way through the game world to achieve their objective.

The plot is simplistic and the CGI is of course primitive, but I didn't mind that - it was appropriate for the purpose and impressive for the time. Ironically, what struck me more was that the initial part of the film, set in the real world, had a rather dated feel. Also, while the digital background music was fine, the inclusion of the more traditional orchestral elements jarred somewhat. Despite this, I enjoyed seeing it again - it is still entertaining and worth watching if you've never seen it.

Tron Legacy also features Jeff Bridges and Bruce Boxleitner, reprising their roles. Bridges again has two parts, as an enhanced CLU (who has not aged, thanks to some CGI trickery), and as Kevin Flynn, who has spent the last twenty years trapped in "The Grid", the name for the virtual game world he created. The focus now is on Flynn's adult son, Sam (Garrett Hedlund) who follows a trail in search of his long-lost father and also finds himself trapped in the Grid. Cue for many reprises of the virtual chases and combat scenes, as father and son try to escape. To reveal more of the plot would spoil a few surprises, so I'll restrict myself to generalities.

The CGI is of course vastly superior to the original film although the same general appearance of the virtual world is maintained, with some added touches reminiscent of the Matrix series. The artificially youthful Bridges is a clever idea but not entirely convincing - if you didn't know what had been done, you would think he was wearing really thick make-up. Some questions from the original film remain unanswered: what exactly is the nature of the humans trapped in the Grid? What happened to their physical bodies when they were "scanned" into the Grid, and how were they reconstituted when they came back out again? If they are virtual, why did Sam Flynn "bleed" when injured and why should Kevin Flynn age? These little niggles kept bothering me as I watched the film.

Overall, Tron Legacy doesn't really take the ideas of Tron much further, and it is of course nothing like as fresh and ground-breaking. It isn't in the same league as The Matrix. However, it's undemanding entertainment and anyone who liked the original and is able to park their critical faculties and enjoy the ride will probably like the sequel.

Interzone 235

A blast from the past in David Langford's Ansible Link column in the July/August issue of this magazine: at the British Library's current Out of This World SF exhibition (note - it runs until 25 September) he met 93-year-old Charles Chilton. I well remember listening to his exciting Journey into Space radio drama series in the 1950s - probably my first introduction to SF - and I still have an ancient copy of his novel The World in Peril on my shelf. I see from Wiki (which has a very informative entry) that Journey into Space was the last radio programme in the UK to attract a bigger audience than television and was translated into seventeen languages. It is apparantly available on CD and internet download. It will have very little merit by modern SF standards but the sheer nostalgia value is huge!

There are the usual reviews of recent films, TV series and books, plus a classical SF cover by Richard Wagner, with flying saucers over a crop field, and shadowy figures in the foreground. Five stories this month, averaging longer than usual.

Insha'Allah by Matthew Cooke, illustrated by Richard Wagner. A female doctor-turned-body-washer on a fundamentalist Muslim world is faced with treating a crashed female spaceship pilot, fallen from a battle for the planet raging overhead. A most unusual story which sticks in the mind.

For Love's Delirium Haunts the Fractured Mind by Mercurio D. Rivera, illustrated by Ben Baldwin. Another story in the Wergen universe, in which aliens who are vastly more technologically advanced than humans find themselves irrestibly in love with humanity. A strange concept, and I'm not sure how far it's worth taking it.

The Walrus and the Icebreaker by Jon Wallace, illustrated by Mark Pexton. A desperate fight to discover oil in the Arctic while civilisation slowly collapses calls for desperate measures - including by a scientist with a walrus trained to carry a bomb.

Eleven Minutes by Gareth L. Powell. A brief, amusing tale of the surprise awaiting US scientists as the first pictures arrive from a rover newly landed on Mars.

Of Dawn by Al Robertson, illustrated by Richard Wagner. A young female violinist goes in search of what motivated her dead brother's bizarre poetry, following clues to a village abandoned since World War 2 when it was incorporated into an army training area. Strange visions and music feature in a story strongly reminiscent of Robert Holdstock.

Some high-quality stories this time, but my favourite has to be Al Robertson's. Although I am mainly an SF fan, there is something haunting about this story (and Holdstock's work) which appeals to me.

Bloody War by Terry Grimwood

Peter Allman recovers after an illness to discover that he has lost all memory of the previous eighteen months, and that Britain has changed dramatically in that period. The country is now at war with unspecified Enemies of Democracy, who are systematically bombing cities. Civil liberties including freedom of speech and travel have been drastically curtailed, the news media are tightly controlled, the internet has been switched off, and the police are supplemented by the sinister SSU. All teenagers are conscripted on their eighteenth birthdays - a date his son is due to reach shortly.

Allman is angered and baffled by all of this, but his attempts to find out exactly what is going on are met by a wall of silence, prompted by fear. Those who speak out of turn are liable to disappear, never to be heard of again. He contacts a former friend, a wounded Veteran of the fighting, and is given some hints that the situation is not as portrayed. His struggles against authority and efforts to escape from a walled-in London to a promised safe haven form the plot of the novel.

The plot summary on the book's cover draws comparisons with Orwell's 1984 and there are certainly some echoes of this, although Bloody War is much more action-focused and brutal. As a worst-case warning of how trends in society might develop it is less convincing because of the plot structure. The author has set the story in the present day, which is a good way to enable the reader to relate easily to what is happening, but the changes in society he portrays are so sudden and extreme as to stretch the credulity of this reviewer much too far. Orwell avoided this problem by setting his novel thirty-six years into his future. On a point of detail, the closing scene didn't work for me as I found it incompatible with the first-person viewpoint.

Despite these criticisms the book makes compelling, if very grim, reading - I read the last three-quarters in one session.

Bloody War was published in 2011 by the Eibonvale Press

Kéthani by Eric Brown

The time is the present day. Thousands of mysterious glass-like skyscrapers suddenly appear in rural locations all over the world, and a message is sent to world leaders by the aliens who planted them: an offer to fit implants to humans which permit them to be restored after death. Their bodies are delivered to the skyscrapers - Onward Stations - and transmitted in beams of light to an orbiting starship. This takes them to the aliens' home planet - Kéthan - from which, months later, they return in good health, without any previous disabilities; and quite a lot younger if they had been elderly when they died. They can then choose to stay on Earth as "returnees" or accept the aliens' invitation to travel to other worlds to help them with their great civilising mission.

Not surprisingly, this initially results in great suspicion and condemnation from some quarters, especially the world's religions. However, the first returnees prove to be not just as good as new but better; their restoration includes a form of education which turns them into more thoughtful and considerate people, with the usual human personality imperfections smoothed away. As a result, implant wearing becomes the norm, and those who reject it are increasingly regarded as strange.

Kéthani is all about the impact which these developments have on individuals and their attitude to life and death. The focus is on a small group of friends (who gradually change as some drop out and others are added) who regularly meet in a pub in a small Yorkshire village close to one of the Onward Stations. The narrator of the story, one of the group, explains at the start that, many years after the events, he has asked each of his friends to write down their recollections of how they perceived them at the time. The novel is made up of a series of interlinked accounts, with occasional explanatory sections by the narrator, stretching from the time of the aliens' arrival to many years later. They are therefore nearly all written in the first person, only with the viewpoint changing with each chapter (which occasionally requires a small degree of concentration to keep in mind whose viewpoint it is this time).

On the face of it this doesn't sound too promising; there is inevitably some loss of the kind of pace and tension which a good straight-line thriller can provide. However, this is more than compensated for by the way in which we get to know the characters, seeing them from different viewpoints as their lives gradually change over the years. We also see the a wide range of issues and events taking place within the group; couples parting and joining, some dying and some returning. It all adds up to an intriguing picture of the multifarious consequences of the alien intervention.

Much of the book previously appeared in short stories, and this does lead to some discontinuities. For instance, in one episode there is an intervention by a different alien race who are opposed to the Kéthani - but that is the last we hear of them. One obvious consequence of the resurrection process is also left unexplored: what happens to a relationship when one of an elderly couple dies, and returns much younger? A recurring theme later in the book is the gradual depopulation of the Earth as an increasing number of returnees opt to spend their lives on other worlds, but it isn't clear why this should be so. After all, in our pre-Kéthani world they would all have died anyway, yet the world's population continues to rise today since births outnumber deaths; logically, within the twenty-year span of the story, the resurrection process should actually lead to a further increase in population by whatever percentage of the returnees elects to stay on Earth, unless something drastic happens to the birth and/or death rates; but there is no indication of this (at least, not until the end of the book).

Despite these quibbles, this unusual story is an interestingly different take on the well-worn "the aliens have landed" plot.

Films: Mission to Mars (2000), and Harry Potter and the Deathly Hallows Part 1 (2010)

Mission to Mars had somehow avoided appearing on my radar until I spotted it on the TV schedules recently, so I thought it might be worth a look. The plot is straightforward (spoiler warning!): a manned mission to Mars goes wrong when some mysterious power kills three of the four astronauts on the surface, and evidence of alien intelligence appears. A rescue mission is duly launched in order to recover the survivor and discover what happened, leading to a suitably dramatic and revelatory conclusion.

The start, at a party for those leaving on the first mission, is not too promising; it features the usual emotional scenes complete with cute kid (a standard Hollywood cliche) before skipping several months to when the mission is securely based on Mars. The interest level then begins to rise with the disaster to the first mission and the launch of the second, from which point it becomes sufficiently involving to hold the attention to the end. Having said that, there are no great surprises and it's generally possible to predict what's going to happen next. Worst of all is the really corny dialogue: on several occasions I was able to predict precisely what the next speaker was going to say, word for word.

It isn't a bad film and is just about worth watching, but Mission to Mars has a very old-fashioned air and (CGI apart) feels as if it could have been made several decades earlier.

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As regular readers of this blog may recall, I am not a particular fan of the Harry Potter series; I have only read the first of the books. However, I have seen all of the films so I naturally had to see the penultimate one.

I obviously don't know if this also applies to the books, but the nature of the films has evolved quite strikingly. The first ones were fun if rather silly. They improved in the middle of the series and became rather good, before becoming increasingly dark and grim. This trajectory is continued in this offering, which is very dark indeed in all respects; the picture on the TV screen was so dim that I had to draw the curtains to darken the room in order to see what was happening.

If you haven't seen any of the earlier films this is most definitely not the place to begin. As with the previous episode, the screenplay assumes that viewers know everything that has happened beforehand and plunges straight into the action without even the vaguest attempt at an explanatory backstory. That had me scratching my head to try to recall what had happened in the last film, which I saw well over a year ago. Also like the previous episode, there is no attempt at a conclusion; the film stops abruptly in mid-story. In between, what happens is basically a horror film; a series of grim setbacks and disasters affecting the usual trio of heroes, ameliorated only a little by an occasional success.

I concluded my review of the previous Potter film with these words: "Despite these criticisms this is a reasonably entertaining film, but it is perhaps the least successful of the series in dramatic terms." The Deathly Hallows Part 1 does not merit even such lukewarm praise in my judgment; it is not enjoyable, and is definitely the least successful to date. As far as I'm concerned, the final episode is going to have to up its game considerably to recover the reputation of the series. As it has just been released, no doubt I will discover that in due course.

A World Out Of Time by Larry Niven

A treat for Niven fans - two helpings in consecutive weeks! It's a long time since I read this 1976 book and I had forgotten what it was about, so when several members of the Classic Science Fiction discussion group said they were reading it I decided to join in.

Set in a different and grimmer future from his famous Known Space milieu, A World Out Of Time starts with the reawakening after 200 years of a "corpsicle" - a terminally ill man who had voluntarily been frozen in 1970 in the hope that a cure for his cancer would be found later. Only he hasn't awakened in his own body - ironically, while his cancer was now curable, the cell damage caused by the freezing process was not - but has had his personality and memories reconstituted in the body of a young criminal whose own personality had been wiped from his brain as a punishment.

The man (called Jerome Branch Corbell - a reference to the cult fantasy writer James Branch Cabell?) soon discovers that his survival hangs by a thread. If he does not demonstrate his usefulness, he will also be wiped from his host body and replaced by another corpsicle: the planet-wide State is ruthlessly utilitarian. He tests favourably for the post of a rammer - a Bussard ramjet pilot - and is duly dispatched on a solo mission to seed promising planets with the elements of Earth-like life. He has his own agenda, however, and decides to visit the galactic core.

I can't say much more about the plot without spoilers, so at this stage I'll just say that the novel is vintage Niven and I really enjoyed reading it again. If you want to find out about it for yourself then stop reading NOW!

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Corbell's journey is plagued by a downloaded version of Peersa, his new "mentor", in his computer, constantly nagging him to do what the State wants. Corbell remains in control, however, and decides to circle the huge Black Hole in the galactic core before returning to earth. Due to a time-dilation effect three million years have passed for the Earth, but only a small fraction of that for Corbell. Nonetheless, even spending most of the time in cold-sleep, Corbell is an old man before his journey is over.

What he then discovers is a Solar System drastically changed. The Sun is bloated and very hot, and the Earth has been moved into orbit around Jupiter. On landing, Corbell discovers the remnants of a strange civilisation ruled by immortal Boys, whose immortality is achieved by freezing their physical development before puberty. There are also some adult humans kept as breeding stock, and one other traveller who captures Corbell - an old woman who is desperate to find the secret of an earlier form of immortality. The race is on to evade the Boys and find the ancient immortality secret.

This is a fast-paced thriller packed with interesting ideas, typical of the author in this period. Also typical is that the characterisation is not strong, but it's good enough to carry the story. I like the casual way in which Niven introduces unusual elements in the background, for example the way in which people paid little attention to hygiene in the crowded future world, washing and deodorants apparently having gone out of fashion. I remain dubious, however, that anything resembling humanity will still be around in three million years: I suspect that we will either have become extinct or evolved ourselves into something entirely different by then.

To sum up, a novel which all Niven fans will enjoy, and it can also be recommended to readers new to SF who want a fast, entertaining read, as it will painlessly stretch their imaginations .

Fleet of Worlds by Larry Niven and Edward M. Lerner

I loved Larry Niven's Known Space series when I first encountered the stories in the late 1960s, and the jewel in that crown - Ringworld - remains one of my favourite SF novels. I thoroughly enjoyed a re-read a few years ago. It's been a long time since I read a new one, though, and I approached Fleet of Worlds with some trepidation. Not only because of the length of time since the concept was fresh but also because this one (first published 2007) was written in partnership with another author. In my experience, sequels of much-loved books written in these circumstances are generally not worth bothering with. Fortunately, this one proved to be better than I feared. However, prospective readers should read Ringworld and preferably some of the earlier Known Space stories first, otherwise they will miss a lot of the references.

The story is set 200 years before Ringworld but the prologue takes place 500 years earlier still, on a human sub-light speed starship with a cargo of thousands of embryos on its way to colonise a planet of a distant sun - a voyage which is abruptly interrupted. The setting then jumps forward 500 years to the Puppeteers' cluster of Home Worlds in their long flight from the supernova explosion in the galactic core (as described in Ringworld). But the Puppeteers are not the only inhabitants of their worlds - one of them contains a large colony of humans who work for them. It becomes apparent that the humans are the descendents of the colonists in the starship. The Puppeteers had taught them English but, anxious to keep the location of their Home Worlds a secret from any potential threat, had preventing them from discovering anything about their origins or the location of Earth.

The plot concerns the efforts of some of the humans to outwit the Puppeteers and discover their origins, mixed with internal politics of the Puppeteers (in which the character of Nessus, familiar from Ringworld, has a starring role). There is also some Puppeteer meddling with affairs on Earth, where they are already known for selling the invulnerable General Products spaceship hulls. The paranoid Puppeteers are desperate to prevent their tame humans and the Earth humans from finding out about each other, for fear of the reactions on both sides. They are prepared to go to any lengths to preserve their security, revealing a darker side to their engaging personalities.

Inevitably, the story lacks the freshness and originality - and the sheer sense of fun - of Ringworld and the other original Known Space books and it took me a while to get into it, but I became increasingly engaged as I read on. Not a ground-breaker, but worth the read. I note that there have been three sequels: Juggler of Worlds published in 2008, Destroyer of Worlds in 2009, and Betrayer of Worlds in 2010. I'm not going to be buying all of these in one go, but I think I'll try the next one to see how the series develops.

How to Write Science Fiction by Paul Di Philippo

I have a small collection of "How to Write…" books and analyses of how novels work (two of the latter having been reviewed on this blog HERE ), of which my favourite is Bob Shaw's How to Write Science Fiction. This is a practical guide full of examples from Shaw's own work, and the value I place on it is enhanced by the fact that I have always enjoyed his writing (you'll find a couple of his novels reviewed here, too).

This essay by Paul Di Philippo (henceforth PDP) may share a title with Shaw's book, but the purpose and theme are very different. First, he considers the issue of the number of new ideas to include in one story. Some authors hold the view that these should be limited to just one novelty, everything else following logically from that. One reason given for this is to allow the writer to focus on all of the implications of this idea rather than produce a confusing mess which might overtax the reader's suspension of disbelief. (Another, less laudable reason is practical parsimony: to parcel out a finite stock of ideas over as many books as possible.) Other authors pack in as high a density of ideas as they can.

PDP gives many examples of the two approaches, but the two which struck me were Clarke's Rendezvous with Rama , in which the one novelty is a giant alien spaceship heading into the Solar System, and Niven's Ringworld : which includes several different alien species (one in the process of moving their entire system away from a galactic core explosion), immortality, indestructible space-ships, a vast artificial world in the shape of a ring around the sun, and lots more besides. I find this intriguing because both feature on my list of twenty favourite SFF novels, so clearly I believe that both can work very well - it's all in the execution!

It soon becomes clear that PDP is a firm supporter of the high density approach - and then some. He provides a history of high density SF, including Harness's Flight into Yesterday and the works of Rudy Rucker. It isn't just packing in lots of ideas that PDP favours but complexity in general: in the plot structure, the viewpoints, and in a wide range of characters. He also admires new styles of writing, and references Bester's The Stars My Destination (another favourite of mine) as well as the more recent cyberpunk, and he stresses the value of borrowing from other media - including poetry, pop music and paintings. A detailed analysis of Pynchon's Gravity's Rainbow, a complex, varied and high density novel which clearly had a dominant influence on PDP's writing career, is included as an annexe.

PDP then goes on to illustrate how to write such stories by analysing his own novel Ciphers (if prospective writers gain nothing else from this essay, they can at least be encouraged by the author's graphic description of Ciphers' painful, decade-long, rejection-filled gestation). He set out to construct a story of high complexity, with many bizarre characters, ideas, situations and subjects, the last including Information Theory, Gnosticism, Buddhism and serpent worship.

I was intrigued and informed by all this, but only convinced up to a point. I enjoy SF with a high density of ideas, as long as they are germane to the basic plot and not simply thrown in for the sake of it. Indeed, one of the reviewers of my own novel Scales complained that I had packed in too many, and that they could have been spread over a trilogy. However, adding complexity at every level is a different matter. There is undoubtedly a place for such fiction and our literary culture would be the poorer without it, but it is an approach to writing which I only enjoy in small doses and can rapidly lose patience with.

Perhaps the main issue I have with this essay is the title. Science Fiction is a very diverse field, I suspect more so than any other genre, ranging from near-future techno-thrillers to wild fantasies. Di Philippo's essay focuses on promoting and explaining one particular type of SF, very much on the outer fringes of the genre. It might be more accurately titled "How to Push the Boundaries of Science Fiction Until They (Almost) Burst".

The essay is published by the Italian digital publishing house, 40k .

Interzone 234

An early post this time, since I'll be otherwise occupied later in week. So while you read this one, you have to imagine that it's next weekend....

Among the regular columnists in the British SFF magazine is David Langford, whose Ansible Link is a compilation of news items about SFF and authors, usually with an amusing twist. There's always something to raise a smile, but one item in the May/June issue of Interzone made me roar with laughter, so here it is, from Australia's Herald Sun:

A 'Sci-Fi and Fantasy Friendly Church Service' near Melbourne, encouraging fans to come in costume and hear moral lessons from The Lord of the Rings, Harry Potter, Doctor Who, Buffy the Vampire Slayer and Star Wars, was frowned on by a rival pastor: "I don't have a problem with people enjoying sci-fi, but church isn't the place to encourage escapism and fancy dress," Mentone Baptist minister Murray Campbell said.

The featured writer is David Wingrove, author of the Chung Kuo series, interviewed by Ian Sales who also reviews his book Son of Heaven. Another author who is new to me; the name Chung Kuo rings a distant bell but I've never read any of the books. Those who do recall the eight-volume series (published 1989-97), set in a future dominated by China, may be interested to know that Wingrove has revised and extended his world - to no fewer than twenty volumes. Son of Heaven is the first of two prequels which explain how the present Western civilisation ends, while the final four books will be added to the other end of the timescale. Since I am something of a completist and don't like starting a series I might not finish (although I must admit I do that a lot more than I used to), I regard such a massive work with some trepidation, but it sounds as if it might be worth a try.

Five short stories this time:

Sleepers by John Ingold, illustrated by Mark Pexton. An intermittent conversation between a monk and an elderly man, set in a future in which a lightgate established in the Solar System by a past alien civilisation had been discovered a century before and used to travel to Centauri. But the habitable planet they discovered offered such challenges as to destroy the attempted colonisation, leading to the shut-down of the lightgate. Now, as the protagonists discuss the past and the future prospects of such exploration, another attempt is to be made - but do the rumoured hostile Centaurons actually exist?

In the Season of the Mango Rains by Lavie Tidhar. A short, atmospheric piece about a doomed emotional relationship in a strange future world.

The Ceiling is Sky by Suzanne Palmer, illustrated by Richard Wagner. A far-future dystopia in a crowded and cheerless world, in which those who have not achieved the dizzy heights of a permanent job have to compete ferociously for short-term contracts which just might, if they are very good and very lucky, lead to a job offer. Such a contract worker is recruited onto a team to plan the technicalities of a project to strip-mine a beautiful world against the wishes of the residents. He is the best at his job, but is targeted for special attention by the residents.

Her Scientifiction, Far Future, Medieval Fantasy by Jason Sandford, illustrated by Richard Wagner. A long story, set in a generations-long part-virtual medieval world controlled by an AI. There are some human inhabitants who live their mock-medieval lives for the benefit of huge numbers of "expers" who experience their world through full-immersion virtual reality. Kris is a teenage princess and, a rarity, someone who was actually born in that world. She would also much rather be somewhere else. But there are complications with dragons, chivalric knights, and an AI which could turn nasty if enough of the expers decided that they didn't like you…

Incompatible by Will McIntosh, illustrated by Mark Pexton. A mysterious and terrifying affliction has ruined the lives of two people, but when they happen to discover each other they both have to face up to their fears.

An interesting variety of unusual stories, as Interzone often manages to deliver. Sandford's story is (as usual) outstanding, but I also liked Palmer's tale, despite my usual prejudice against dystopias.

Alien civilisations - less likely?

A couple of years ago I posted a review of a non-fiction book by Stephen Webb: Where is Everybody? Fifty Solutions to the Fermi Paradox . In this book, the author considers the Fermi Paradox; that given the number of stars in this galaxy alone and the length of time it has existed, there should be swarms of high-technology Extra-Terrestrial Civilisations (ETCs) around, so why haven't we detected any? He examines a wide range of possible explanations before concluding that our planet is uniquely fortunate and may host the only technological civilisation in the galaxy.

My own conclusion was slightly different from the author's, in that I speculated that given the age of this galaxy, with the average age of its stars being some two billion years older than our sun, there have probably been plenty of ETCs around but that it could be rare for more than one to be in existence at any one time, since they may not last all that long.

One of the unknowns, until very recently, was how many stars have planets - particularly planets like ours, rocky and in the CHZ (continuously habitable zone): which is to say, at the right distance from its sun for the billions of years needed for not just life (or our understanding of it) but advanced intelligence to evolve. The habitable zone is popularly known as the "Goldilocks" zone: not too hot and not too cold for liquid water to exist on its surface (i.e. average surface temperatures within the 0-100 degrees centigrade range). However, this gap in our knowledge is rapidly being filled by astronomers who, by using highly sensitive instruments and sophisticated data processing techniques, have discovered over 1,200 exoplanets orbiting nearly 1,000 stars, with the numbers steadily growing. What they have discovered so far has been summarised in a couple of recent issues of the New Scientist magazine (Astrobiology supplement by Caleb Scharf, 7th May; and No Place Like Home by Lee Billings, 14th May) and is discouraging to those keen to find ETCs.

First, I had better summarise the three different indirect methods by which exoplanets are detected (even the biggest of them around the closest stars are far too small to observe directly).

The first method used is the Doppler or radial velocity technique. This relies on the fact that planets do not, strictly speaking, orbit their stars. The planets and their stars orbit a common axis whose position is determined by their relative masses; if a star and planet were both of the same mass, the axis would be half-way between them. Generally, stars are vastly more massive than any of their planets so the common axis is within the star, but not in its centre. The star therefore wobbles slightly as the planet moves around it, and this can be detected. The speed of the wobble indicates the period of the planet's orbit and therefore its distance from the star; the size of the wobble indicates the relative mass of the planet. Obviously, if a star has several planets, each exercising its influence on it, then its pattern of wobbles can be very complex and require lots of number-crunching to resolve. This method favours the discovery of large planets orbiting very closely around their stars, as these create the biggest wobbles. This may mask the existence of smaller planets further out.

The second method is known as transit photometry, which is based on measuring the slight dip in a star's brightness as a planet passes in front of it. The degree of the dip indicates the planet's size, the time period involved indicates its speed and therefore distance from the star. This method also has its disadvantages. An obvious one is that the planet's plane of orbit has to be side-on to us, otherwise it wouldn't pass between its star and our planet, so any planets with different orbital planes will fail to be detected. It is also necessary for three transits to be observed to be certain that this is a genuine effect, which in the case of a planet the same distance from its star as ours means that it will take two to three years to confirm. Jupiter's orbit takes twelve years, so confirming the observation of a similar planet would take 24 to 36 years. So once again, bigger planets close to their stars are the easiest to detect.

The third method is called gravitational microlensing, which relies on the fact that massive objects bend the fabric of space. In practical terms, it means that a star exactly in between us and a far more distant star will act as a lens, focusing the light of the distant star. If the nearer star has planets, these can produce a subsidiary focusing effect which can be analysed to determine the planets' masses and orbital distances. However, the opportunities for such observations occur very rarely.

I find it amazing that no only can such miniscule observations result in confident estimates of the size and mass of planets orbiting distant stars but that the nature of the planets can also be deduced: whether they are rocky worlds or gas giants. Data from their stars also allows astronomers to deduce whether or not a particular planet is within the habitable zone.

At first only the largest planets were observed, but more recently (and especially with the use of the Kepler telescope launched into orbit in 2009) it has become possible in some cases to start building up a picture of entire solar systems, identifying the number, size and orbits of several planets orbiting the same star. The results are demolishing some long-held beliefs.

The theories of solar system formation which have developed over the centuries have of course all been based on a sample of one: ours. They tended to conclude that all of the planets will be more or less in the same orbital plane with close-to-spherical orbits, and that planets in close orbits will be small and rocky, with gas giants further out. All of these conclusions have turned out to be flawed.

What astronomers have observed so far might be summarised as follows: planets and panetary systems are the norm, but while some systems have an even more regular structure than ours, others can best be described as chaotic. Gas giants are found in close orbits, the most spectacular example being Upsilon Andromedae which has a planet 1.4 times the mass of Jupiter so close to the star that its orbital period is just 4.5 days! Furthermore, that same star has a super-massive gas giant, 14 times the mass of Jupiter, with its orbital plane at a 30 degree angle to the first one. And there is a third giant in that system, 10 times the mass of Jupiter, in an extremely elliptical orbit with a different orbital plane again. This kind of chaotic structure would have a huge effect on any smaller planets in the system, wildly disturbing their orbits and making it impossible for them to remain in the habitable zone for any length of time.

One possible consequence of such gravitational instability is that planets can end up being flung out of their solar systems altogether, presumably accounting for the recent discovery of many such homeless planets floating around our galaxy, only detectable via their gravitational lensing effect. In fact, a later New Scientist news item suggests that so many of these loose planets have now been discovered that they must be considerably more common than planets which are still orbiting stars.

This is really significant since in order for life to evolve to a human level of intelligence on any particular planet, that planet has to remain within the Goldilocks zone for billions of years. And that means above all that stability is required. Not only does the orbit of the planet have to be fairly circular and the star itself be stable, but other planets in that system have to be in stable, near-circular orbits in more or less the same orbital plane.

Of the 1,200 planets detected so far, only 366 are rocky and of Earth or super-Earth size (the initial requirement for supporting Life As We Know It). Of these, just six are in the habitable zone. While most seem to be in reasonably stable orbits at present, that does not mean that they have been, or will remain, in that zone for the length of time required to develop intelligent life.

Exploration continues and conclusions are sure to change as more data comes in, but initial indications are that our Earth's characteristics and history have been unusually favourable to the development of intelligent life. Which suggests that it is unlikely that other civilisations exist anywhere near us.

Primary Inversion by Catherine Asaro

This is the first novel set in Asaro's award-winning and continuing Skolian Empire series. I posted a general review of the series on this blog in July 2007 and a review of another of the novels, The Ruby Dice, in May 2010. I went into some detail concerning the background to the series in my 2007 review, so I recommend that this be read now before continuing with this review (scroll down to a linked index to all of my novel reviews in the left hand column).

I have just re-read Primary Inversion for the first time since it was published in 1995 as it is one of the monthly reads for the Classic Science Fiction discussion group. It features a few critical months in the life of Sauscony (Soz) Valdoria, a formidable heroine who is one of the rare Rhon psions on which the Skol-Net (the Skolian Empire's unique instantaneous communications network) depends and is also a Jagernaut Primary - a surgically enhanced warrior with a rank equivalent to a fleet admiral. She is also the half-sister of the Skolian Imperator, Kurj, and his potential heir.

The author includes a lot of infodumps in the first few chapters to bring readers up to speed with the background setting, in the form of explanations by the main characters to others. This could be tedious but is handled well, being broken down into manageable chunks and interspersed with a lot of action, including a ferocious space battle.

The story begins with Soz on leave with her Jagernaut team on a neutral planet where they meet a group from the Eubian Concorde, the deadly enemies of the Skolian Empire. The man they are guarding (Jaibriol) is a Highton, the highest caste of the sadistic Eubian Aristos, and Soz discovers two things about him; he is the previously unknown heir to the Eubian Emporer, and his appearance is a sham - he has been selectively bred and genetically engineered to be a Rhon psion with the aim of defeating Skolia by taking over the Skol-Net. He has lived a protected life and is unaware of his intended role or of the true nature of the Aristos, and the mutual attraction between Jaibriol and Soz is immediate and powerful.

Soz has her own psychological problems dating back ten years to when she was briefly captured by the Eubians and used as a "provider"; someone who was tortured for an Aristo's pleasure. Her struggles to maintain her sanity, outwit the cold and calculating Kurj and resolve her relationship with Jaibriol - who by rights should be her deadliest enemy - take up most of the book.

Primary Inversion is an exciting thriller on its own and also acts as a scene-setter for the rest of the series. Many of the characters we meet here - including Kurj and Soz's parents - plus some who are only mentioned, feature much more strongly in subsequent novels. I will conclude my review with the same words I used at the end of my 2007 series review:

"This is a very good modern version of the traditional space-opera, and recommended to anyone who enjoys this sub-genre."