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0345534417
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| 0345534417
| 3.61
| 13,598
| Jul 01, 2012
| Jul 10, 2012
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liked it
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I'll bet you never thought you would see an intergalactic alien thriller that all centered on the intricacies of copyright law, did you? Well, if that
I'll bet you never thought you would see an intergalactic alien thriller that all centered on the intricacies of copyright law, did you? Well, if that's what you've been waiting for, then this is the book you want to read. The universe, as it turns out, is well-populated with other civilizations. Some of them are nearly human in appearance, others are so radically unlike us that they're hard to imagine, much less talk to. Giant snails, two-dimensional beings, foul-mouthed parrots and bio-machine intelligences - all of these and more make up the Refined League, the greatest political entity in the universe. In order to become part of the League, your civilization has to first prove that it can overcome the violent urges that lead so many intelligent cultures to self-extinction. Once it has done that, the League provides it with technology so advanced that it may as well be magic, allowing the new members to completely solve their technological problems and instead focus their energies on creative and cultural works. And that is where the League shines brightly. Their artistic sense is so far beyond ours that were we to see it in its full flower our brains would likely shut down from the beauty. Their art and architecture, cinema and drama, fashion, food - hell, their calligraphy and paper-making are works of art that make our great masters look like toddlers drawing stick figures in the mud. In nearly all respects, the Refined League outclasses humanity. Except, as it turns out, for music. Thanks to some twist in our evolution, we are the only civilization capable of creating truly great music. Indeed, the first music heard by an alien culture - the closing credits song to "Welcome Back, Kotter" - was so amazing and so powerful that countless individuals died from ecstasy overload. As the universe turned its ears towards Earth, they discovered what they had been missing all along, and were soon tapping into our radio and TV broadcasts to get copies of the greatest music ever made. The discovery of Earth's music was so pivotal to the cultural history of the universe, that the League reset their calendars to reflect it, thus making October 13, 1977 the beginning of Year Zero. For decades, Earth music was recorded and copied and passed along. And while it did still occasionally kill people with its beauty and glory, those who survived cherished the gift we were unknowingly giving to them. While we were not yet prepared to join the League, we were the center of the universe. Until the law got involved. The central governing principle of the League is that indigenous laws must be respected, no matter what. It wasn't until our songs had been copied over hundreds of millions of times that the League discovered the incredibly draconian and torturous copyright laws that govern music on our planet, and the heavy fines that are imposed for piracy. Under U.S. copyright law alone, it turns out, the universe owes us money. All the money. Two of the universe's biggest stars break through the barrier that's supposed to protect our planet and approach Nick Carter - not a Backstreet Boy, but a young attorney specializing in copyright law - to try and find a way to fix this little problem. But they're not the only ones looking to find a way out of the mess the League has gotten itself into. Members of an entertainer's union - now pretty much defunct since Earth music took everything over - would rather see us gone entirely, so they're prepared to make sure we find a way to destroy ourselves before any kind of arrangement can be reached. Nick, along with the universally-admired celebrities Carly and Frampton, are in a race against a violent alien parrot and an angry vacuum cleaner to save the Earth and the Refined League both, along with keeping the music coming. It's a very fast read - I went through it in a day - and is built on a very entertaining premise, one which undermines a lot of what we've come to expect from first contact stories. The author's experience in the online music industry no doubt gave him a lot of material to work from, and he made it into a fun race against the clock. Part of the reason I bought the book was its premise - we're all so used to seeing stories about how wonderful aliens are compared to ourselves, and it's nice to see it subverted in a clever and interesting way. It was also a clear and repeated stab at the way we handle creative property rights in the United States - indeed in most countries around the world. The law firm for which Carter works is so entrenched in the business of protecting copyright that they practically wrote some of the most egregious laws against piracy. They even have their own pet Senator, a thinly-veiled version of Orrin Hatch who is nicknamed "Fido," who does their bidding in Washington. They're not concerned with making sure the artists are compensated, or that their music is treated fairly. They're interested in getting as much money as possible from as many people as possible, and have no qualms about doing what's necessary. What's more, most of the legal plot points settle around real U.S. law – the Copyright Damages Improvement Act of 1999, which mandates fines of up to $150,000 per song. As a comparison, in the state of Connecticut, for example, the fine for a class A felony (murder) is up to $20,000. So if you were thinking of downloading that new Bieber single, you may as well just kill seven people and pocket the extra ten grand. Admittedly, the CDIA doesn't allow for prison sentences (I think), but a person effectively bankrupted by legal action will probably end up in prison one way or another. In its way, though, the book does suffer from a common problem that I've been seeing a lot recently: the cardboard villain. In this book, the pro-copyright forces are just plain Wrong, and will clearly not win the day. Now I have no problem vilifying law firms and giant corporations - hell, that's practically a hobby of mine - but I would like to have seen a bit more humanity from them, rather than a giant monolithic force of legal evil. Even the main human avatar of that monolith, Carter's boss, pretty much abandons her position as soon as she realizes the threat that the Earth is under. We know that these laws are wrong, but how they got so wrong is something that could have added to the story. Of course, that itself could be a book of great and ponderous length, so I can understand why Reid might have glossed over it. The other criticism that I have of this book is that it will one day be horribly, terribly dated. There are pop culture references everywhere in the story. Some are subtle, some are not, and it was kind of fun being able to pick them out. Everything from GalaxyQuest to Monty Python to Breaking Bad - if you've been paying attention to popular culture for the last twenty years or so, you'll find these little nuggets buried in the story. And they're great, as long as you're reading the book in proximity to those cultural references. I don't know how well it will hold up for a reader twenty or thirty years down the road, but that may not have been Reid's intention. This is a book written for a specific time and reason, in an intellectual climate that the author understands far too well. Perhaps he just wanted to write a book for this moment, and never meant it to last much longer. Whatever his motivations, I hope he continues to explore this kind of writing, and gives us bigger and better in the future. -------------------------------- "Our legal scholars have researched [the Copyright Damages Improvement Act] thoroughly. And they unanimously agree that it is the most cynical, predatory, lopsided, and shamelessly money-grubbing copyright law written by any society, anywhere in the universe since the dawn of time itself." - Carly ...more |
Notes are private!
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1
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not set
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Aug 14, 2012
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Aug 14, 2012
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Hardcover
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1401310303
| 9781401310301
| 1401310303
| 3.57
| 32,776
| Oct 12, 2009
| Jun 29, 2010
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liked it
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If you pay close attention, Colfer tells you exactly what you can expect from this book right at the beginning, using a well-chosen quote from Douglas
If you pay close attention, Colfer tells you exactly what you can expect from this book right at the beginning, using a well-chosen quote from Douglas Adams: “The storm had now definitely abated, and what thunder there was now grumbled over more distant hills, like a man saying 'And another thing...' twenty minutes after admitting he'd lost the argument.” (So Long and Thanks for All the Fish) As Adams well knew, the phrase "And another thing..." is superfluous. It is said by the person who just can't let things go. It's a sullen, resentful phrase that doesn't add anything to the discussion that came before. In other words, Colfer is telling us, this book didn't need to happen and you probably don't need to read it. Which is very kind of him, I think, warning us in advance that way. But still, after a long time where I refused to give in, I finally, well, gave in and read the book. It's not as bad as I expected it to be, certainly, but it lives up to its title. If you haven't read it, you don't really need to. It doesn't add very much to the overall mythos of the Hitchhiker's Guide universe, or to its characters, and while it has some entertaining moments in it, a few places where I genuinely laughed out loud, and some interesting explorations of Vogon sociology, if you give it a miss then you're probably not missing a whole lot. If you'll recall, at the end of Mostly Harmless, the fifth book in the trilogy, the Earth - all of the Earths - were destroyed by the Vogons once and for all. The galactic conspiracy of psychiatrists had won, with the omnipresent Guide Mark Two as their weapon of choice, and the whole business about the Ultimate Question of Life, the Universe, and Everything was finally at an end. With the exception of Zaphod Beeblebrox, all of the main characters were vaporized, much to Arthur Dent's own relief. If ever there was a conclusive ending to a series, that would be it, although allegedly Adams had a couple of ways in his back pocket to bring everyone back, should he need to do so. Alas, Adams left us far too soon. In 2008, however, it was announced that there would indeed be a sixth book, penned by Eoin Colfer, of the hugely popular Artemis Fowl books. Fans across the world were both excited and apprehensive to see what would be done with the characters we had grown to love over so many years. To his credit, Colfer wrote a very funny book. I was laughing by the first page, and he really did a fine job of capturing the tone and cadence of the Guide entries and the way that Adams would narrate the story. His depictions of some characters - especially Zaphod and Random - were spot-on, and you could see a lot of elements in the book that were nods to some of Adams' favorite themes. In essence, what happens is this: (view spoiler)[Our Heroes are introduced to us in a stasis hallucination, held between ticks of the clock by the Guide Mark Two as the planet-destroying beams of the Grebulons descend towards Earth. They are rescued by the Heart of Gold and Zaphod Beeblebrox, who has detached his left head and is using it as the ship's computer. Unfortunately, Ford causes Left Brain to freeze up, so they need to be rescued again - this time by one of the most popular bit players in the series, Wowbagger the Infinitely Prolonged, an immortal being who has decided to spend eternity insulting everyone in the universe in alphabetical order. Wowbagger reluctantly takes them aboard, and in doing so insults Zaphod to the point where Zaphod promises to find a way to kill him, a proposition that Wowbagger has no problem with. Zaphod's weapon of choice? A down-on-his-luck thunder god who's been slumming it around Asgard. Meanwhile, there is a planet of human refugees that is undergoing some rather entertaining class warfare, and the solution to this is, apparently, to find just the right kind of god to run the place. And even more meanwhile, a young Vogon is having second thoughts about his Vogonity and whether or not it's okay to destroy inhabited planets just because there is a work order on hand that says they should. (hide spoiler)] I want to criticize the book for being directionless and unfocused, but let's be fair - that describes the first book as well. Given its genesis as a radio drama, Adams never really had a grand plan for what would happen in the beginning of the series, and wrote in an episodic fashion that had (as far as I could tell) no real end point in mind. The difference, however, is that while those books had no real direction to them, they were charged with a kind of chaotic energy that made you want to keep reading just to find out what happens next. Arthur Dent, our avatar in this universe, never got a chance to rest or even change out of his dressing-gown, and so we were dragged along with him. It was exciting and confusing and weird in all the right ways, and we didn't mind not knowing where we were going because the trip to get there really was just that much fun. In this book, however, Arthur really doesn't want to be involved. He's had an imaginary lifetime of living in peace and quiet, and seems to have outgrown the antics of Ford and Zaphod. He's the reasonable adult in this book, and not all that much fun anymore. As I read, I was disappointed that Colfer didn't seem to have captured Arthur's character very well, but perhaps I was wrong - Arthur didn't belong in this story, and he wanted nothing more than to not be in it anymore. And it showed. Another telling moment comes near the end of the book. The narrative takes a moment to remind us that, "There is no such thing as a happy ending." And a few lines later, it quotes a certain pole-sitting philosopher who says, "There is no such thing as an ending, or a beginning, for that matter, everything is middle." That certainly is true of life, and you can imagine it being true of the lives of fictional characters. Louis and Rick will walk off the tarmac in Casablanca and go on to do other things, perhaps help the resistance fight the Nazis. The lives of Luke and Han and Leia have been extended far beyond their original showing on film, thanks to the Extended Universe of Star Wars. Scout Finch and her brother Jem will grow up and have children of their own; the rabbits at Watership Down will live and breed and die; Guy Montag will help rebuild the intellectual society that he was originally trying to destroy... We know that these worlds have lives beyond the last page, no matter how thoroughly they're destroyed at the end. There's always going to be some thread hanging loose that can be picked up and used to continue the story beyond where it left off. But that doesn't mean that we should. I applaud Colfer for taking on the project, knowing that it is better for the series to be continued by someone who knew it and loved it and who was influenced by it, rather than by someone who couldn't show it all the love it deserves. As I said, I laughed while I read this book, a lot more than I expected to. But as the title implies, this feels like an attempt to continue a story that has been finished for a long time. Rather than breathe new life into the Hitchhiker's franchise, it simply reminds us all the more sharply of what we once had and will never have again. -------------------------------- "I do not hate myself. In many ways, I am not altogether too bad." - Constant Mown (Vogon) ...more |
Notes are private!
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1
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not set
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Aug 2012
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Aug 13, 2012
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Paperback
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0062067753
| 9780062067753
| 0062067753
| 3.78
| 60,893
| Jun 21, 2012
| Jun 19, 2012
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liked it
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The Long Earth by Terry Pratchett and Stephen Baxter It is said that the population of the whole world, if packed together into a city of the same dens The Long Earth by Terry Pratchett and Stephen Baxter It is said that the population of the whole world, if packed together into a city of the same density as New York City, would fit into the current boundaries of Texas. This Texan mega-city wouldn't be a pleasant place to live, and there's the challenge of infrastructure and living space and waste management, but the point is clear: there's a lot more space on Earth than we think there is. True, a lot of it is unfriendly to us - ocean, desert, ice, mountains, New Jersey - but still, despite our habit of packing ourselves into tightly-bound metropoli, there's a lot of room on this earth to spread out. Now imagine there was another Earth just a step away. A simple exertion of will, perhaps aided by a small device that anyone could make at home with a potato and some spare parts, and you're in a new world, untouched by human hands. You'd be standing in the same place you left from, but on another Earth. And if you don't like that one, well, there's another Earth just a step away. And another. And another. An infinity of Earths, each one so very slightly different from the one you left, each with its own story to tell. With the potential for an entire planet per person, what would that do to the world? Who would go and who would stay? What would happen to the "original" Earth, or Datum Earth as it's called in this book? The ramifications of the Long Earth are far-reaching and unsettling indeed, as is the quest to map it. Of the people on Datum Earth, most are able to step with the aid of a Stepper, a small box that they can build from freely available parts using plans that were posted to the internet by a mysterious engineer named Willis Linsay. As long as you follow the instructions properly and to the letter, you should be able to step from Earth to Earth with ease and only a minimum of discomfort. The first wave of devices were built by kids, prompting an initial missing-children panic as kids popped out of this universe with hastily-built Steppers, completely unprepared for what they were getting into. Soon, though, more and more people were stepping out, eager to explore these strange new worlds. At the forefront of this wave of colonization were the rare few who could step from world to world without a Stepper. One of these is Joshua Valienté, who was propelled to fame when he rescued children from their first journeys on Step Day. Joshua is hired by the Black Corporation to explore the Long Earth. With the support of Lobsang - formerly of Tibet and now an artificial intelligence - Joshua is going to step as far as he can go and see what there is to see at the distant ends of the Long Earth. This is a genus of book that I really enjoy - one that takes a simple, straightforward idea and tries to find all the angles of it. To that end, Pratchett and Baxter look at how the people, governments, and businesses of Datum Earth adjust to this new reality. And some of the questions are decidedly thorny. Is America still America on all Earths? If someone commits a crime in an alternate New York, could they be prosecuted by the NYPD? What happens to the value of commodities such as wood or gold when you have a nigh-infinite supply of it? And what happens to a nation when its people start stepping out en masse? There is a sub-plot in the book, following police Lieutenant Monica Jansson, who becomes the law's expert on stepping, with all the challenges that come with it. For example, what can you do to stop someone from stepping one world over, taking a few steps to where a bank vault should be, and then stepping back? How do you make a space step-proof against intruders? And what do you do with the increasingly disgruntled percent of people who can't step at all? That's to say nothing of the scam artists, the escapees, and the people who just abandon their lives to walk the Long Earth. It's a concept rife with possibilities. Each Earth is slightly different, representing an Earth that could have been. Some are steaming jungle, others arid wasteland and still others are lush and perfect for agriculture. There are animals that claim descent from the megafauna of North America, from our own ape-like ancestors, and from dinosaurs, and others still that are unlike anything on the Earth we know. On none of them, however, are there humans - only the Datum Earth has those. As great as the concept is, though, I found myself disappointed by the end of it. It seemed like Pratchett and Baxter missed a lot of good opportunities for the story, failed to fire at least one of Chekhov's guns, and let the Datum Earth plot line with Monica Jansson go woefully under-explored. Furthermore, while the Big Bad at the end was certainly big, it wasn't that bad, and it was dealt with in a rather perfunctory and, in my opinion, unfulfilling manner. The ending was flat, with a bunch of loose ends that really should have been tied up, and there was even one question that came to mind that seemed so painfully obvious that I was shocked none of the characters thought of it: the Stepper boxes refer to the alternate Earths as being "west" or "east" of Datum Earth, and are built with a three-point toggle switch. If there's a west and an east, how about a north and south? What if you had four choices from any given Earth instead of two? I can understand leaving that option out for reasons of narrative simplicity, but it seems like such an obvious question that I'm surprised it wasn't even raised. Overall, I think the book fell under the same curse as so many of Neal Stephenson's works: an amazing idea, done really well until the authors had to figure out how to end the book. There's no real climax to it, no sense of fulfillment and achievement. Just a feeling like they had to stop somewhere, so they did. That said, if they're clever, they'll make this a shared world project. I would love to see lots of different authors take a crack at some Tales of the Long Earth, precisely because it's such a useful idea. There are so many stories that can be told, including the ones that got short shrift in this novel. Let's hope we get to see that. ---------- [Jansson] opined, 'Oh.' This response seemed inadequate in itself. After some consideration, she added, 'My.' And she concluded, although in the process she was denying a lifelong belief system of agnosticism shading to outright atheism, 'God.' - from The Long Earth by Terry Pratchett and Stephen Baxter ...more |
Notes are private!
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1
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not set
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Jul 09, 2012
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Jul 09, 2012
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Hardcover
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0060892994
| 9780060892999
| 0060892994
| 3.99
| 114,599
| Oct 1959
| May 09, 2006
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really liked it
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This has probably been noted by many better thinkers than I, but the way I see it is this: history takes a long time to happen. I know, I know. Mind: b This has probably been noted by many better thinkers than I, but the way I see it is this: history takes a long time to happen. I know, I know. Mind: blown. We are lucky in this day and age that we have so much information available to us about history. Go to any of your better museums and you'll see artifacts of a bygone age, books and clothes and various objects carefully displayed under glass. Through the meticulous work of historians and scholars throughout the ages, we have created an unbroken chain of knowledge through the centuries that is so thorough and so strong that we feel like the days of Shakespeare, of Charlemagne, of Pericles all happened just the other day. But what if that chain were broken? What if something so big, so terrible were to happen that we had to rebuild history from scratch, using oral tradition and whatever pathetic scraps of memorabilia we could find? Whom could we trust to keep it and put it all together, and then what should we do with it in the end? These are the questions that humanity is forced to confront after the Flame Deluge - a nuclear inferno that claimed the great nations of the world near the end of the twentieth century. All would have been lost if not for the work of Isaac Liebowitz, an engineer-turned-monk who dedicated his life and the lives of his brothers to the preservation of knowledge. Over the centuries, his part of the Albertan order would become the caretakers of a bygone age, guardians of history itself, and would play a key role in the future of humanity, for good or for ill. A Canticle for Liebowitz is a novel in three parts, spanning over a thousand years of future history. It begins in the 26th century, where the inhabitants of what was once the United States are bound into roving tribes and insular city-states. There, the young monk Francis makes a startling discovery from the life of his patron, the soon-to-be-sainted Liebowitz, a discovery which changes his life and the lives of everyone in his order. Through chance, or perhaps divine intervention, Francis finds an underground bunker, a shelter from the Fallout demons of old. He rummages around the cluttered remains of whomever had sealed themselves inside, and happens upon a strongbox, within which are handwritten pieces of paper, including a blueprint for an electrical circuit designed by Leibowitz himself. Suddenly, Francis' vocation was clear. Or at least clearer than it had been before. Then the story jumps forward to the 29th century, an age of discovery and renaissance. The learned both inside and outside the Church are beginning to rediscover science, and apply it to rebuilding some of the technology that was thought to be lost so long ago. At the same time, local leaders are vying for power, and trying to ensnare the monks of St. Liebowitz in their plots. The world is changing, progressing, and not everyone is comfortable with this change. The third part of the story propels us into the 36th century, an age undreamed-of by even those who lived before the world was cleansed by fire. Humanity is traveling between the stars and giving life to their machines, making full use of knowledge both new and old. Unfortunately, mankind may succumb to the same pride, the same flaws that nearly destroyed it a thousand years before. On the eve of self-annihilation, a desperate group of pilgrims is sent out to the stars to try and keep some spark of humanity alive in the cosmos, despite humanity's nearly unstoppable urge to destroy itself. And at the center of all of this is the Order of Leibowitz, holding on to old works and memorabilia, waiting for either the right hands or the wrong ones. The book sounds depressing in its nature, but it isn't. Yes, mankind makes the same stupid mistakes over and over again, not remembering the horror that befell them the last time. But despite that, there are still good people and there is still hope. You turn the last page knowing that the world, and humanity, will go on in one form or another. Even with our propensity for self-destruction, we are equally capable of brilliance and discovery. In a larger sense, too, this book is one long journey into philosophy, bringing up some questions that are truly fundamental to who we are as a species. For example, the book addresses the topic of euthanasia in one section, with the Abbot of the order violently opposed to the Mercy Camps that the government is building. Is it better to make the sick and injured live in their sickness, or should we give them a way out? Is suicide – assisted or otherwise – ever permissible? The characters that debate this topic each have a clear and rational reason for thinking the way they do, and yet they come to no agreement. The characters, for the short time we get to see them, are fascinating. You feel sorry for them, hopeful for them, and afraid for them, because Miller has written them as human beings. We don't have Interchangeable Scientist A and Interchangeable Scientist B arguing opposite points. We instead have scholars and religious, each desperately trying to protect his point of view. Or what about the nature of technology itself? The monks are charged with being the memory of mankind, yet when people start trying to recover the lost sciences, the abbot feels uncomfortable with the whole idea. After all, their predecessors in civilization followed the path of science, and look where it got them. Might it not be better to just let things stay as they are? Hard, yes, and certainly not a perfect world, but when you don't even have electricity, blowing up the world is hard to do. What I also found interesting was how Miller placed the Catholic Church at the center of this story. In the world after the Deluge, the Church is the only organization left, and it fills the power vacuum nicely. Through its system of priesthoods and orders, it remains the last island of civilization in a world that's turned to chaos. I'm not a big fan of the Catholic Church for many reasons, but he really made it into an establishment that I could appreciate. It represented continuity and caution, as well as taking up the guardianship of human history. For all its faults, if the Church could keep humanity from failing utterly, I would be grateful for it. It's intellectual science fiction at its best, really, exploring the kind of big ideas that science fiction is meant to do. Miller has sung a song – a canticle – not just for the fictional Liebowitz, but for humanity as a whole, and asks his readers to sing along with him. ------------------- "If you try to save wisdom until the world is wise, Father, the world will never have it." - Thon Taddeo, A Canticle for Liebowitz ...more |
Notes are private!
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1
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not set
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Jul 2012
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Jul 06, 2012
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Paperback
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0765316994
| 9780765316998
| 0765316994
| 3.86
| 112,831
| Jun 05, 2012
| Jun 05, 2012
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really liked it
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The philosopher Jean-Paul Sartre once said, on the meaning of life, "Man is nothing else but what he makes of himself." Frederich Nietzche said, "If w
The philosopher Jean-Paul Sartre once said, on the meaning of life, "Man is nothing else but what he makes of himself." Frederich Nietzche said, "If we possess a why of life, we can put up with almost any how." And Stephen King wrote, "Life sucks, then you die." It'll take a far better philosopher than I to really look at this book from an existentialist viewpoint, but I strongly suspect that it would be a lot of fun to do. After all, one of the major questions that philosophy - and existentialism in particular - tries to address is that of why we are here. What is our purpose in life? What, in the end, does it all mean? For us out here, that's a question we can't really know the answer to, and thus a whole branch of philosophy exists to tell us that it doesn't really matter. That maybe we don't have a purpose imposed upon us from outside, but that's okay. We can create our own. We can contribute our own verses to the powerful play of life, as Whitman would have it, and in the end we are responsible for our own lives. But what if we weren't? What if there was a being that orchestrated our lives, willing them into - and more importantly out of - existence? What would you do with the realization that your life is not entirely your own? And even worse, the realization that the person in control of it doesn't really care all that much about you? That is the problem faced by Ensign Andrew Dahl of the Universal Union flagship Intrepid. It is the 25th century, and things couldn't be better. He has a chance to see new world and new civilizations, to boldly go... Well, you know the rest. Dahl is at the frontier of science and exploration, and is determined to make the most of it. If he survives. Alone among the ships of the UU, the Intrepid loses crew at an alarming rate. Dahl soon discovers a fact that has been known for years by those crew members who are bright enough to spot the pattern: people who go on away missions with the command staff will, almost inevitably, die. Toxic gasses, killer machines, Borgovian land worms - these are just a tiny sampling of dangers that have done in ensigns and miscellaneous crew for years, and no one seems to know why. All they can do is make sure they're not in the room when the Captain comes in, looking for someone who pop down to a planet's surface to find out why that mining colony hasn't reported in recently. Dahl, of course, just can't let himself and his friends die, so he begins digging into the true nature of their lives on the starship Intrepid. What he discovers is a truth almost too mad to be believed: their lives are not their own. A greater power is directing events on the Intrepid, dictating who lives and who dies, and that greater power doesn't seem to be very good at what it does. So Dahl and his friends have to bet everything on the power of the Narrative, meet their makers and try to find a way to secure their freedom. Or, failing that, a way to see to it that their lives have more meaning than they had before. As always with John Scalzi, I recommend picking this up. It's a very fast read - I finished it in under a day - and it has the tight combination of humor, thoughtfulness, and genuine emotion that I have come to expect from his work. From a premise that is incredibly simple - “The crew of a starship realize they’re doomed if they go on away missions and try to change their fate” - he's built up a multi-layered exploration into the meaning of life and death. The universe he's given to us is one where people are denied the ability to give meaning to their own lives, and have to rely one an unseen force to do it for them. The fight, then, is to acquire that ability to decide. To gain agency, as it were. They want to be able to control their own existence so badly that they risk their existence entirely. The corollary, then, is very simple: what are you doing with your life? We, the readers, have that agency. We can make decisions for our own lives and our own purposes. If we succeed or fail, we can do so knowing that we made those successes or failures possible. [1] In a sense, we don't know how good we have it, something that is brought up in the second of three codas to the main novel. We can choose. We can create meaning in our lives without hoping that some higher power will do it for us. So why don't we? For a book that presents itself as a quick, fun read, there are certainly layers upon layers of meaning in it that could be a lot of fun to explore. The only complaint, really, is that it wasn't long enough. And I don't mean that he skipped essential scenes, or that he should have opted for a Tolkien/Jordan/Martin-esque style of describing every goddamn thing that showed up on the page, but there were points where I just wanted him to slow down a bit and let us appreciate the moments for what they were. There's a scene in chapter 21, for example, that should be really emotional and meaningful, but it's almost entirely dialogue. Good dialogue, yes, but I wanted to linger over it a bit, and that's true for a lot of scenes in the book. Scalzi writes wonderful banter, and makes his characters sound real, but I want to see things as well as hear them. Also, to be honest, I expected the last page to just be a picture of Scalzi at his computer, turning to the camera and winking. It would have been hilariously meta, but I guess he's not as gimmicky as that. Buy the book and enjoy it. If you're a fan of Star Trek - which was, given the title, a huge inspiration for the story - you'll no doubt appreciate it more than most. Even if you haven't watched every episode of the original series, though, the Red Shirt character is one that has permeated all levels of fiction, and has died many times in order to advance the plots that you love so well. He even has one poor guy who's not only a Red Shirt, but nearly at the end of his tour and about to get married. There was no way he'd survive. Take some time out for these poor, expendable bastards and give them a chance to shine. ---- "The [Borgovian Land Worms] were in a frenzy. Somebody was now likely to die. It was likely to be ensign Davis." - from Redshirts by John Scalzi ---- [1] There are plenty of external, uncontrollable factors, of course, which can all be lumped together under the term "luck," but you know what I mean. ...more |
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Jun 20, 2012
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Jun 20, 2012
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Jun 22, 2012
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ebook
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0765342405
| 9780765342409
| B001RKZUHK
| 4.32
| 176,431
| Oct 01, 1999
| May 19, 2002
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it was amazing
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This book made me wish I could forget that I had ever read Ender’s Game. Not because it was necessarily a better book – though it is longer – but becau This book made me wish I could forget that I had ever read Ender’s Game. Not because it was necessarily a better book – though it is longer – but because the two books offer different views of the same events from two distinctly different perspectives. Ender Wiggin is brilliant and empathetic, a boy torn apart by his own doubts and fears and driven to greatness by a government that sees him simply as a means to an end. It is only his ability to understand and come to love those around him that gets him through his trials, endure his isolation, and which ultimately allows him to put together the team that defeats the Buggers. Ender seems to be more human than human, and not in that ironic Blade Runner sort of way, but in a way which makes us want to see him succeed and do well. Bean, on the other hand, is about as different from Ender as it’s possible to get. He’s introduced in Ender’s Game as a foil, a character designed to show us how far Ender had come in the short time that he had been in Battle School. When we meet Bean, Ender is using the same techniques of isolation and constructive abuse that were used on him, making us wonder if Ender will turn out to be just a copy of the adults who were tormenting him. We learn that Bean, like Ender, is brilliant, but he is also strong-willed and ambitious and takes well to the atmosphere of Battle School. In the end, Bean shows himself to be a vital part of the team that Ender assembles to save the Buggers and cement humanity’s place in the cosmos. Ender’s story is all about empathy and self-understanding and his desire to be the person he wants to be, rather than the person humanity needs him to be. He has to give up some of his essential humanity in order to save the world. Bean’s story comes from the opposite direction. More brilliant than Ender, Bean learns to find his humanity. He has to learn to see people as people, rather than a means to an end or a puzzle to solve. The hard lessons that he learned on the streets of Rotterdam as a small child were vital in preparing him to become a commander, but they have to be put aside if he’s to become a human. Bean’s story is much bigger in scope than Ender’s, which gives the book as a whole more depth than Ender’s Game. We start out in Rotterdam, which has become a center of poverty and violence among rival gangs of street children. Bean, tiny and starving, manages to prove his worth to one of these gangs by suggesting strategies by which they can get more food and more respect. He gains the attention of Sister Carlotta, a nun who is working for both God and the International Fleet, and she is the first to see his full potential as a student in Battle School. But in the course of trying to understand Bean, she learns that his origin is one of horror, and that his future is even worse. As a character, I liked Bean more than I liked Ender, possibly because on a scale of Complete Misanthrope to Bodhisattva, Bean and I are pretty close to the complete misanthrope end of the spectrum. To be fair, though, Bean has a lot more reasons to feel that way, and he’s a lot worse than I am. As we meet him, Bean views people as means to an end or as problems to be solved. He doesn’t reform the street gang culture of Rotterdam because it’s the right thing to do – he does it because he needs to eat. When he does experience attachment or fondness for others, he doesn’t know how to deal with it, and turns it into just another problem to be solved. That hyper-analytical way of looking at the world makes Bean a much more aware character than Ender as well. While Ender spends most of his book wrapped inside his own head, Bean is constantly testing the world, analyzing it and trying to figure out what’s really going on. So while Ender was exploring the computer fantasy game, Bean was crawling through air ducts in the Battle School. While Ender was researching the battles of the past, Bean was learning how to spy on his teachers. In the end, just as Ender is learning to put aside his humanity for the common good, Bean discovers a deep well of compassion that he never knew he had. Ender becomes more isolated, and Bean becomes more connected to others. The two characters come at each other from different directions and view the world in vastly different ways, giving us a kind of parallax view of the same events, to use Card’s preferred terminology. Most interestingly, many of the revelations that were revealed to Ender in his book were discovered by Bean in this one, which creates a whole different reading experience. And that’s why I wish I could delete my memory of having read Ender’s Game,, or at least put it away for a while. Reading this book, I constantly compare what’s happening to Bean with what happened to Ender, looking for those scenes that are shared between the books and others that we only get to see once. Whether it’s the early days of Battle School or Ender’s fight with Bonzo Madrid or the climactic end, there are enough similarities and differences to make each book worth reading. But at the same time, I want to read each one for the first time, without knowing what’s going to happen next. I want to share Bean’s ability to see plans unspool before him without already knowing what those plans are. And then I want to read Ender’s Game the way I read Ender’s Shadow and have those wonderful moments of revelation as new light is shed on topics that were only briefly mentioned before – like Locke and Demosthenes, or the true fate of Mazer Rackham. Card has done a difficult job very well in this book, and I can’t imagine it was easy at all. As he noted in his forward, a dozen years passed between the first book and this one, and a person changes in that much time. He learned new things and gained new perspectives, and that naturally had a great influence on how he chose to write this story. And then there’s the enormous popularity of his other Ender books. Between Game and Shadow, he wrote Speaker for the Dead in 1986, Xenocide in 1991, and Children of the Mind in 1996. That means he had a much more solid understanding of his world by the time he got around to Ender’s Shadow in 1999, and a much larger fan base as well. Writers will always say that they write for the story, not for the fans, but every writer wants in their heart of hearts to have people love what they write. Revisiting your most famous work and exploring a popular character brings great risks with it. Fortunately, I think Card succeeded with this book. It both compliments and contrasts with Ender’s Game, offering enough new information and new viewpoints to merit a second novel, while being faithful to the story that fans had come to love over a decade and a half. What’s more, it feels like the work of a more experienced writer. The scale is larger, the characters have more depth, and he takes more chances with the story than he did with Ender’s Game. All in all, if you were a fan of the first, you’ll like this one. If you haven’t read either, you really should. And if you start with this one, let me know how it goes. ---------------------------- “Ender was what Bean only wished to be — the kind of person on whom you could put all your hopes, who could carry all your fears, and he would not let you down, would not betray you. I want to be the kind of boy you are, thought Bean. But I don’t want to go through what you’ve been through to get there.” ...more |
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Feb 2012
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Mar 27, 2012
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Paperback
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0812550757
| 9780812550757
| 0812550757
| 4.10
| 263,997
| Mar 1986
| Aug 15, 1994
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it was amazing
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In his introduction to the book, Card says that the main reason he wrote his most famous book - Ender's Game - was so that he would one day be able to
In his introduction to the book, Card says that the main reason he wrote his most famous book - Ender's Game - was so that he would one day be able to write this. I think this is something that probably happens a lot to authors. They get a Big Idea in their head, something with great depth and complexity and meaning, and quickly discover that they don't actually know what they're writing about yet. There's too much to say, there's too much that even the author doesn't know yet, and to go forward from that state of ignorance will result in what is, ultimately, an inferior narrative. Andrew Wiggin, the Speaker for the Dead, comes to the human colony Lusitania in order to speak the death of a local man, Marcão. While given the same reverence and privileges as priests, Speakers are not the same. Their job is to learn about the dead, to understand who they were and who they wanted to be, and then tell the truth as plainly and as clearly as possible. They do not give eulogies, where they try to paint the dead in as good a light as possible. They reveal who this person was, and in the process try to help those left behind understand them. It's a calling that requires an insightful mind, great empathy for others, and the ability to tell the truth despite how hard that truth may be to hear. As a Speaker for the Dead, Andrew Wiggin is very good at his job. It was he who was the first Speaker, who wrote a text that is as revered as the Bible - The Hive Queen and the Hegemon - in order to understand how humankind could kill the only other intelligent species it had ever encountered. The book reveals who the Buggers were and why they attacked humanity. It tells how their understanding of what it means to be intelligent led to a century of warfare and, ultimately, their own destruction. The book also reveals humanity, the dreams and fears that it faced when it met the Buggers. And it tries to understand why humans were so afraid that they took one of their own - a little boy named Ender - and turned him into the greatest monster in human history. The Xenocide. The one who destroyed an entire alien race. This book changed the way humankind saw the universe, and themselves. With the Buggers gone, but their technology still available, humans expanded out to a hundred worlds. Though their starships could only go just under the speed of light, the ansible provided instant communication between the stars. It formed a communications network that held the Starways Congress together and allowed humanity to become a multi-system species. Ender - Andrew - is ultimately responsible for all of this, and is therefore the linchpin of this entire universe. In order to write this book, to understand the culture and the history and the politics that would be necessary to write Speaker for the Dead, Card first had to understand who Ender was. So, with the blessing of his publishers, he was able to turn Ender's Game into a full-length novel. Once that was done, he was able to turn back to this book and craft it into what it has become. The colony of Lusitania is a small place, a group of Catholic settlers who live in a small and insular town. They have all the troubles that any new world would have, except for two that make it truly unique. The first is the descolada, a virus that nearly destroyed the colony and, thousands of years before, life on the planet. This illness literally unzips and recombines your DNA, ravaging your body utterly. If not for the dying work of the colony's two great xenobiologists, everyone would have died. As it turned out, Gusto and Cida were the last to die, leaving their sad, strange daughter Novinha behind. Even that wouldn't be enough to make Lusitania a truly remarkable place. No, for that, we must introduce the Piggies - the third intelligent life form known to exist in the universe. They're small, look like little pig-men, and are indisputably intelligent. They learn quickly, even despite the law forbidding xenologists from influencing their development, and present humanity with an important chance: the last time we encountered an alien intelligence, we obliterated it. Let's not do that again. This becomes harder, however, when the Piggies kill two of the xenologists in what appear to be a horrifyingly painful method. Now it looks like humanity may have to revert to type again, and that there truly is no way that humans can share the same space with other intelligences. Into all this steps Ender. His years of lightspeed travel have kept him young while three thousand years have passed, and he has wandered from world to world to speak for the dead. Now he is on Lusitania to speak for Marcão, an investigation that will lead him to uncover secrets kept for decades, and to once again change the way humans understand their universe. There's really so much to say about this book that it's hard to decide what to leave out and what to keep in. For one thing, Card is trying to write a very different kind of science fiction story. In his introduction, he says that a lot of fiction is adolescent in nature, science fiction especially. It's about adventure, about people seeing a way out of their conventional lives and going off alone. It's about being freed from responsibility and living a fast and crazy life. When that loneliness of adventure finally becomes too much, the hero settles down, but that's usually the last chapter of the book, if ever. Card wanted to go the opposite way, to take a lonely adventurer and show him trying desperately to become responsible, to become a member of a community. In class, where I'm teaching Ender's Game, we've identified isolation as being one of the overriding themes of the novel. Ender is constantly taken away from those he loves or held apart from others. In the end, he becomes a solo wanderer. Even more than that, he is made into a monster, a name on par with Lucifer itself. He is virtually thrown out of humanity, and it is only because no one knows who he really is that he can travel unmolested. So we're seeing Ender in that stage where the loneliness and the wandering have become an unbearable burden to him, and all he wants is a place to belong. But as a Speaker, as a man speaking a death that could completely upend the lives of everyone in the colony, he has his work cut out for him. There is also the element of redemption. In his years of travel, Ender has carried a very special package with him - the cocoon of the last Bugger hive queen. In exchange for her story, he promised that he would find a home for her, a place for her to rebuild her vast family. And on Lusitania, there is that chance. But first he has to save the Piggies, to prevent them from suffering the fate of the Buggers at the hand of a fearful and suspicious Humanity. If Ender can do this, perhaps he can make up for the horror that he unknowingly perpetrated. There's a lot going on in this book, to say the least. It's a great book, better in many ways than Ender's Game. It is more complex and adult and difficult, with moments of true emotion, a well-built socio-political system befitting a species that spans hundreds of worlds, and addressing the needs for changes in culture, politics and even language that would arise from the need to define relationships between worlds and between species. Fundamentally, though, this book is about what the Speaker for the Dead does best - understanding. It's about how we deal with The Other, even when that Other is completely alien to us. Humans and Buggers, Humans and Piggies - hell, Humans and Humans, we have a hard time understanding people who are not like us. We find it very difficult to look at the world from their point of view and to see the world through their eyes. Understanding what they love and fear, what they value and honor, or what they abhor - and more importantly, understanding what they see in you and how they understand you - is the best and surest road to making peace with those who are different from yourself. And that's a lesson that is valuable for all of us. --------------------------------------------- "No human being, when you understand his desires, is worthless. No one's life is nothing. Even the most evil of men and women, if you understand their hearts, had some generous act that redeems them, at least a little, from their sins." - Ender Wiggin, Speaker for the Dead ...more |
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Jul 20, 2011
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Jul 23, 2011
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Paperback
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0765328542
| 9780765328540
| 0765328542
| 4.14
| 31,474
| May 10, 2011
| May 10, 2011
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it was amazing
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Once upon a time, there was a man named H. Beam Piper, and he wrote a series of books that began with Little Fuzzy, a tale of space-going humans who h
Once upon a time, there was a man named H. Beam Piper, and he wrote a series of books that began with Little Fuzzy, a tale of space-going humans who have to learn to live on a world with an adorably cute, yet sentient, species. While I haven't read these books, my research tells me that they're the type of fun, optimistic science fiction that is so emblematic of the early 60s. They dealt not only with the issues of human expansion into space, but with what it means to be an intelligent, sentient species. Given that we only have one case study - us - that definition will necessarily be narrow, and challenged. Humans have trouble relating with other humans who live only a six hour drive away, after all. Being able to relate to a non-human sentience that evolved on another planet will be a massive philosophical undertaking. In 2010, John Scalzi announced on his blog that he had done a "reboot" of Piper's work, revisiting the characters, themes and world that Piper had created and seeing what he could do with them. He did this partly because it seemed like a good idea, but also because it was something that hadn't been done before in literature. If you're a fan of science fiction, you know that stories from the visual media - TV and movies especially - get rebooted from time to time. The most notable recent examples are "Star Trek" and "Battlestar Galactica," and include shows like "Smallville" and the most recent run of Batman movies. If you read comics, you know this happens all the time as well, in ways big and small. Characters like Green Lantern, Thor, and the Fantastic Four are fundamentally the same as when they were created, but have evolved in ways their creators may have never expected. In all of these examples, the fundamental core of each story is kept from the original - the world, the characters, the themes - and given new life. Sometimes it works and sometimes it doesn't, and Scalzi felt that Piper's world was good enough and interesting enough that it deserved to be re-introduced to a modern audience who might not otherwise know about it. So, just for fun, he started writing Fuzzy Nation, a book that uses the characters and ideas from Little Fuzzy, the first of Piper's books, and builds an entirely new story out of them. What resulted was a story that he thought was good enough to let out into the wild, and so - with the help of some intellectual property law and the blessing of Piper's estate - he published Fuzzy Nation in 2011. As I said, I haven't read the original Piper books, but they're half as much fun to read as this one was, then I have to pick them up. In the future, humankind has expanded out into space, as we so often do. With us, we have taken that peculiarly human trait, naked avarice, and brought it with us. The Zarathustra Corporation (ZaraCorp for short) is one of the leaders in exploiting and extracting usable resources from a planet. They've cornered the market on Sunstones - a decorative rock that glows with its wearer's body heat and makes diamonds look like beach pebbles - and turned the ravaging of worlds into an art. A horribly environmentally destructive art. Jack Holloway is a contract surveyor, a former trial lawyer, and not a very nice man. He helps ZaraCorp search for Sunstones on the hostile world of Zara XXIII, with the help of Carl, a dog with a fondness for explosions. Holloway finds seams of Sunstone and gets his cut of the money. It's a nice enough arrangement out on a backwater world, and it doesn't get complicated until he (and Carl) discover a Sunstone deposit that could fill the company's coffers for decades. At the same time, he encounters a curious form of life - or rather, it encounters him. Small, bipedal, intensely curious and undeniably clever, the Fuzzies (as Jack names them) seem to be truly remarkable animals. It is not until the ZaraCorp field biologist (and Jack's former girlfriend), Janice Wangai, suggests that they might be sentient that things get truly complicated. After all, Colonial law is very clear on what companies like ZaraCorp are and are not allowed to do on each planet they run, and "ravaging the world of another sentient species" is pretty much at the top of their Do Not list. It soon becomes a race to save the Fuzzies from ZaraCorp and its army of lawyers. If they win, the Fuzzies will have a planet on which they can grow and thrive. If ZaraCorp wins, they'll have nothing by the least useful bits of dirt and shrubbery left. Holloway has to do a good thing but he has to do it his way - a way that rarely has him acting like a good man. The first thing I thought when I finished this, actually, was, "I needed that." My reading choices for a while have been kind of heavy, or at least not a whole lot of fun to read. Good, yes, but not fun. I know this because I find myself doing things that aren't reading - listening to podcasts, reading through articles I've saved on Instapaper, going through old columns at Cracked.com, things like that. With this book, though, there was none of that stalling. I read it every chance I could and blew through the whole thing in two days. So let that be take-home lesson number one: this book is fun to read. And while it is an adventure, it does hit on some interesting and contemporary topics, not the least of which is the question of how ethically a corporation should be expected to behave. ZaraCorp, like any company, has a primary mission to make money, especially as the company is publicly traded. They have to get money to those stockholders who have invested in them so that they can make more money to exploit more resources. And that’s a point that Scalzi has made in his own blog: “I think the majority [of] corporations act logically and rationally and in a manner consistent with the general reason for their existence,” he writes. “And the reason most corporations exist — and most large multinational corporations in particular — is simple: To maximize shareholder value.” In Fuzzy Nation, he takes this to the place where corporate rational self-interest turns bad. You see, it is perfectly possible for a corporation to achieve its goal while still being environmentally responsible or socially conscious. In other words, to fulfill its responsibility to the shareholders without violating the ethical or moral codes of the people who actually make up those groups. But there are those who are all too willing to put the fiduciary responsibility of the corporation above the ethical responsibilities of people, and that’s where the Evil Corporation comes in. ZaraCorp fits this to a T. They see nothing but profits in Zara XXIII, and if the Fuzzies stand in their way – sentient or not – they will do whatever is necessary to eliminate them while at the same time doing their level best to stay within the legal bounds prescribed by the Colonial Authority. Or not to get caught crossing them, at least. In the end, this becomes about why we do what we do, and how we project those reasons onto other people. ZaraCorp is motivated by untempered greed, and assumes that Holloway will be too. Holloway is interested in himself, but finds himself needing to be interested in other people. The motivations of the Fuzzies, for most of the book, is unclear, but they too have to learn the difference between what they think other people want and what they really want. It’s a fast, tight book that is great fun to read, has characters that you like, even if they’re despicable, and has some moments of wonderful emotion that come around the corner and hit you like a hammer. It’s part philosophical adventure, part legal thriller, and part sarcastic comedy, verging on satire. Books like this are why I keep coming back to Scalzi. “…with all due respect for your considerable skills and intellect, the fact of the matter is that you have absolutely no clue what it is I want out of this.” – Jack Holloway, Fuzzy Nation ...more |
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Jun 22, 2011
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Jun 25, 2011
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Hardcover
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0375424865
| 9780375424861
| 0375424865
| 3.67
| 14,404
| Jan 01, 2007
| Jun 05, 2007
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liked it
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It ain't easy being Super. You might be a hero, like Fatale. She is the latest in cyborg technology - a woman who was nearly destroyed in a freak accid It ain't easy being Super. You might be a hero, like Fatale. She is the latest in cyborg technology - a woman who was nearly destroyed in a freak accident, rebuilt by a mysterious corporation and made into the perfect living weapon. She is fast, she's strong, and for a while she was one of the U.S. government's best operatives. But now she's on her own, and life is tough as a cyborg. You have parts to deal with, the need to keep your power source going, and of course it's hard to enjoy a night out when everyone keeps staring at the half-metal woman in the booth near the window. Fatale wants to be a hero, though, and the re-formation of the Champions is just what she needs. If she can prove herself to this team, she can find a new purpose to her life. If not a hero, you could be a villain. Doctor Impossible has certainly lived up to his name. In his many years of villainy he has come up with just about every nefarious scheme an evil, quasi-invulnerable genius can cook up in his twisted, malevolent brain. He's been to the past and the future, he's swapped brains with the greatest heroes of his age, he's escaped from inescapable prisons more than once. Of all the would-be conquerors on Earth, Impossible is the one who would be voted most likely to succeed. And yet he isn't happy. His life isn't what he thought it would be, and it doesn't take a genius to see that Doctor Impossible has a few problems that even his great genius cannot solve. When Impossible breaks out of prison - again - the Champions re-form to hunt him down. With old and new members joining together to keep the flame of heroism alive in their world, the Champions are determined to find Impossible and shut him down for good. The only problem is that the person who has always succeeded against Impossible, a hero who calls himself CoreFire, is missing. Without him, their chances are greatly diminished. Against an evil genius like Impossible, who can defeat the team armed with little more than his wits and a false tooth, you want to throw everything you can at him. What's more, the internal tensions pulling at the Champions may defeat them before Doctor Impossible even gets the chance to try. This book, like so many other modern renditions of super-heroes, has its roots in Alan Moore's Watchmen. While he was not the first to make his superheroes less than super, he was certainly the best, and his work is well-remembered for that. After Moore was done, it was hard to think of superheroes as entirely pure, good and noble. We could see the tensions between them, the neuroses that drive them to do what they do, and we began to understand that our heroes were just like us, only moreso. Ever since then, writers have been trying to de-super the superheroes and make them into regular people who just happen to be able to shoot lasers out of their eyes, break the laws of thermodynamics, or bend steel in their bare hands. Grossman has taken full advantage of the work that has gone before him in this novel. The story is told from the alternating perspectives of Doctor Impossible and Fatale, and proceeds to deconstruct both the heroes and the villains in visceral, raw detail. What is it like to be a cyborg, something halfway between human and superhuman? And how can you join a team like the Champions, a team of legends among legends, and feel up to the task? What happens when you realize that the heroes you looked up to are just as human as you are? Or at least, as you used to be. On the other side, what makes a villain what he is? What happened to Doctor Impossible that put him on the ever-unfulfilled path to world domination? Was he destined for it, or was it a series of choices, insignificant at the time, that led him to where he was? How did his genius get turned to evil, and what, if anything, keeps him going? The problem with deconstructing superheroes is that once you've deconstructed them, there's really nothing left. Being a superhero is a fundamentally irrational career choice. Watchmen hinted pretty heavily at this, since all the heroes in the story had been pretty well messed up by their days in tights. There are so many problems that crop up once the spandex and mask are put on that you may find it's not worth the effort. Legal issues, financial problems, time constraints and unstable relationships aside, what does this choice say about your state of mind? What kind of person can take up the job of costumed hero and stay sane? When you come right down to it, even if you have superpowers there are so many other ways you can use them that are less risky and more beneficial to humanity than getting into fistfights that destroy city blocks. The same goes for villainy. So often you see bad guys with technology that is honestly amazing in its scope - Captain Cold's freeze ray, for example, would make him rich if he patented it and licensed derivative technologies. Much richer than if he ever succeeded at using it to rob jewelry stores. Doctor Doom builds machines that are so far beyond current science that he could rule his own country - oh wait, he does - instead of single-mindedly trying to destroy Reed Richards. Lex Luthor would be grinding his teeth in envy over the power that Steve Jobs or Mark Zuckerberg or even Rush Limbaugh have. And none of them have a would-be Kryptonian conqueror to spur them on, either. That's the secret heart of superhero stories - they rest on fundamentally irrational choices. Take away those urges to help or harm and you are left with simple absurdity. And that's kind of where this book falls down. There's plenty of navel-gazing and deconstruction going on in this story, from all angles. Between Fatale and Doctor Impossible, they pretty much reason away any good reasons for getting into the game as a hero or villain, and yet - there they are. Impossible is the worse of the two, really. His narration shows him to be an insightful, intelligent, and fairly well-grounded man who probably could become one of the most powerful men on earth through conventional means. And yet, even knowing that it's probably a waste of time, he continues with his grand scheme - in this case, gravitationally manipulating the distance between the moon and the Earth so as to hold the Earth hostage. He knows he's going to lose. He knows there are better ways to be effectively evil that don't involve a metahuman punch to the face. He knows when he's acting in a stereotypically villainous way. And yet he persists, usually in the most cliched way possible. He spouts comic-book-villain monologues and even has an island fortress from which he operates. Neither Fatale nor Impossible - nor any of the other good or bad guys we meet - seem especially happy doing what they're doing. And what's more, they know they're not happy. Doctor Impossible even goes so far as to state it explicitly during his moment of triumph - "For a second, I find myself at the fulcrum point of creation. God I'm so unhappy." Well, if you're such a genius, perhaps you would be able to make better choices than this. Therein lies the paradox of this book. The more human you try to make these characters, the less believable their story becomes. You can't be both human and superhuman at the same time - it takes a very skilled writer to pull that trick off, and I don't think Grossman is there yet. He tells an entertaining story, full of pretty much every comic book trope you can think of, which entertained me to no end. The problem is that by the time you get to the finale the unstable foundation of the story starts to show. How much you'll enjoy the story depends on how good you are at filtering out the deconstruction that's going on, which means missing the point of the whole book – that the only way to really enjoy superheroes is to accept them at face value and avoid deconstructing them. So yeah, good luck with that. ---------------------------------------------------- "When you get your powers, you learn a lot about yourself. My professors called me mad. It was time for me to stop punishing myself, and start punishing everybody else." - Dr. Impossible, Soon I Will Be Invincible ---------------------------------------------------- ...more |
Notes are private!
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1
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not set
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Jan 27, 2011
|
Feb 10, 2011
|
Hardcover
| |||||||||||||||
0765316978
| 9780765316974
| 0765316978
| 4.10
| 68,737
| Apr 17, 2007
| Apr 17, 2007
|
really liked it
|
In Old Man's War, John Scalzi brought us a new future, vast in scope, amazingly advanced and yet horribly familiar at the same time. Humans have sprea
In Old Man's War, John Scalzi brought us a new future, vast in scope, amazingly advanced and yet horribly familiar at the same time. Humans have spread out through space, snatching up habitable planets as fast as they can and setting up new colonies to thrive or perish. Back on Earth, most of the population is fed just enough information about the greater universe to ensure a steady supply of colonists and soldiers, but not enough to make them aware of all the cool stuff they're missing. Unfortunately, we are not the only ones out there who want this real estate. Dozens of alien species are out there, and most of them want the same worlds that we do. We - and they - will fight tooth and nail to get and keep the precious few worlds that will support life. Existence out in space is much like existence on Earth - a constant struggle for scarce resources, and the species who is best adapted to get and keep planets will be the one that, for lack of a better word, wins. To keep human colonists alive, the Colonial Union has created the Colonial Defense Force. These soldiers, taken from senior citizens of Earth, are given new, superhuman bodies, terrifyingly effective weapons, and just enough training to make sure they can defeat the horrifying things that they are sure to face. John Perry, a widower from Earth, joins the CDF and becomes one of the few Earthlings to learn about the wider universe into which humanity has spread. Sarcastic and quick-witted, Perry learns a lot more than he bargained for - among other things, that his dead wife's DNA had been used to make the Special Forces soldier called Jane Sagan. In The Ghost Brigades, we follow Sagan through the shadowy and violent world of the Special Forces. Where the regular CDF soldiers have bodies that would make them superheroes on Earth, the special forces are on a whole other level. Grown from the DNA of people who did not survive to become CDF soldiers, the special forces are where the newest and most interesting genetic modifications are tried out. Better vision, faster reflexes, a nearly telepathic connection with their squadmates, and even in some cases whole new body plans are all options for the Special Forces soldier. They are single-minded, deadly, and proud, knowing their purpose in the universe almost from the moment of their "birth." What they lack, however, is the years of living that ordinary humans have and all that comes with that. This makes the Special Forces even more separate from the rest of the CDF - human, but not quite, yet essential to the survival of humanity. Jane Sagan is one of the people trying to find Charles Boutin, a brilliant scientist who has vanished, taking a dangerous amount of information on the CDF's mind transference process with him. Their worst fear - that Boutin will try to sell that technology to their enemies - isn't even close to how bad the truth is. Boutin hates the Colonial Union with a passion and devises a plan that will make all human colonies everywhere completely vulnerable to attack. When he dies, the only thing Jane and her squad can do is escape, but not before saving Boutin's young daughter, Zoë, from the terrifying Obin. More on them later, though. Their days of adventuring over, Perry and Sagan marry, creating a partnership that sounds impossible, if you stop to think about it for too long - a man well into his 80s, with the body of a 30-year-old, marrying a woman cloned from the DNA of his former wife, and who is technically still too young to get a driver's license. They love each other, though, and are willing to bring Zoë into their family. Following their discharge from the CDF, they got new, normal bodies and accepted a position on the oddly-named colony world of Huckleberry. In the town of New Goa, John is the ombudsman, which means having to deal with all the petty problems that come with a small town, and Jane is the constable. They live with Zoë and her two Obin bodyguards in what could certainly be considered a good life. So you know that won't last. They are tapped to lead a new colony - a new type of colony, actually. Whereas previous colonists had all come from Earth, the new colony of Roanoke will be founded by representatives from ten of the oldest human colonies. It's a second generation colonization, which would be a fantastic milestone if it weren't for one tiny little detail: the Conclave. Having been willing to fight pretty much everyone in their area of space, the Colonial Union hasn't made many friends. In fact, they have damn few. Their enemies, sensing a common threat, have banded together into an organization called The Conclave, which is working to end interplanetary war through a representative government of sorts. One of their first acts was to forbid colonization by any non-Conclave members. Unauthorized colonies that resist the Conclave are vaporized. Humanity, always the contrarians, wants to flout the Conclave's rule and undermine its presumed authority. Thus begins an intricate web of deception and misinformation and scheming that all centers around the colonists at Roanoke, who know nothing of what's going on over their heads. There are a few clues, though, and when John starts pulling at loose threads, a whole tapestry of intrigue is revealed to him. Roanoke may be vital to the survival of humans in space, but that doesn't mean that the colony itself has to survive. The reason I'm putting these two books together is because they're really one book. The Last Colony is a fantastic read, where every time the plot turns it's like a punch in the gut. The tension never really lets up, and every time we think things are going to get better, that's the cue for them to get a whole lot worse. After finishing the book, however, Scalzi got a light wrist-slapping by his readers for taking a few shortcuts. One is that an indigenous, intelligent life form is discovered on Roanoke, which cause the deaths of several colonists... and then they vanish, never to be seen again. From the description, they sounded pretty cool, and I was disappointed that Scalzi had just let them kind of drift away so quietly. The other problem was with Zoë - Perry comes up with an interesting end-run around the Colonial Union, one which involves Zoë pulling rank with the Obin, who revere her as the daughter of the man who gave them consciousness. She gets sent off with her Obin bodyguards, partly to get help and also to get her out of harm's way, and returns twenty pages later with a piece of alien technology that just happens to be exactly what they need to win the final, climactic confrontation against the Conclave. The author knew he couldn't put all that into the book without producing something of doorstop proportions, so he "did a little hand waving and hoped [he] wouldn't get caught." This is what you get for cultivating an intelligent readership, Scalzi. The other reason for writing Zoë's Tale, of course, was that Zoë was a really interesting character. The daughter of a man who would have betrayed humanity, and at the same time brought consciousness to the Obin - a species that had been uplifted long ago to have intelligence without consciousness. The Obin revere Zoë, and would do anything to protect her. Under these circumstances you might think that she would grow up kind of weird, but she actually ends up pretty cool. We get to see her in action a few times during The Last Colony, and those few times are more than enough to make you want to read a whole book about her. That book, then, is Zoë's Tale, a re-telling of the events of The Last Colony from the perspective of the most important teenage girl in the known universe. It's hard enough being a teenage girl here and now (or so I'm told), so imagine how much harder it must be when your father is one of the greatest traitors to humanity; when your adoptive parents are ex-soldiers, and your mother is technically younger than you are; when an entire species depends on you as a model of what it means to be a conscious, self-aware being; and when you suddenly have to leave your home to start a new colony on a world that no one has ever heard of. That would be enough to mess anyone up. Fortunately, Zoë is a tough girl. She's bright, resilient and sarcastic. She enjoys a deep inner life, knows how to taunt boys, and keeps her head in a crisis. In short, the kind of teenage daughter we would all want to have, if we wanted to have teenage daughters. She and her friends do what teenagers do best: push the boundaries of their new home, have fights, fall in love, and feel big feelings about everything. Through her, we learn a lot more about the indigenous life forms of Roanoke, and we find out much more about the universe at large when she is sent to find a way to save her family and friends. While Zoë's Tale was very enjoyable, I find it hard to evaluate fairly. I love Zoë, and her friends are great characters as well. Scalzi does a fantastic job at writing the intricate webs of angst that make up our teenage years, fraught with emotional land mines and exciting new feelings. Her relationship with her boyfriend Enzo is very well handled, as is the ever-shifting dynamic of friendship between her and the other teens of the colony. There are some beautiful, raw moments of emotion in the book that made me - the man whose heart was long ago replaced by a spinning, cold lump of stone - stop for a moment and say, "Wow." What I can't fairly say is whether or not Zoë's Tale works as a stand-alone book. As I read it, I was constantly filling in gaps from my knowledge of The Last Colony, which made everything make sense. If I had my way, I would wipe my memory of both books and then read them again in reverse order to see if they still worked. Perhaps one day, if Scalzi has a lot of free time, he will integrate the two into a larger single volume. I wouldn't envy him that work, but I think the resulting book would be a brilliant read. One of the things I like about the work of John Scalzi is that I can always recommend him without reservation, so I'm doing that now. If you like good science fiction, an engaging plot and wonderful characters, pick up The Last Colony and Zoë's Tale. You won't regret it. ---------------------------------------------------- "Being from Earth in this universe is like being a small-town kid who gets on the bus, goes to the big city and spends his entire afternoon gawking at all the tall buildings. Then he gets mugged for the crime of marveling at this strange new world, which has such things in it, because the things in it don't have much time or sympathy for the new kid in town, and they're happy to kill him for what he's got in his suitcase." - John Scalzi, The Last Colony "You and I are so totally going to be best friends." "Are we? I don't know. What are the hours?" "The hours are terrible. And the pay is even worse." "Will I be treated horribly?" "You will cry yourself to sleep on a nightly basis." "Fed crusts?" "Of course not. We feed the crusts to the dogs." "Oh, very nice. Okay, you pass. We can be best friends." "Good. Another life decision taken care of." "Yes. Now, come on. No point wasting all this attitude on ourselves. Let's go find something to point and laugh at." - Zoë and Gretchen, Zoë's Tale ----------------------------------------------------- ...more |
Notes are private!
|
1
|
not set
|
Nov 22, 2010
|
Dec 19, 2010
|
Hardcover
| |||||||||||||||
0765316986
| 9780765316981
| 0765316986
| 3.77
| 37,161
| Aug 19, 2008
| Aug 19, 2008
|
liked it
|
In Old Man's War, John Scalzi brought us a new future, vast in scope, amazingly advanced and yet horribly familiar at the same time. Humans have sprea
In Old Man's War, John Scalzi brought us a new future, vast in scope, amazingly advanced and yet horribly familiar at the same time. Humans have spread out through space, snatching up habitable planets as fast as they can and setting up new colonies to thrive or perish. Back on Earth, most of the population is fed just enough information about the greater universe to ensure a steady supply of colonists and soldiers, but not enough to make them aware of all the cool stuff they're missing. Unfortunately, we are not the only ones out there who want this real estate. Dozens of alien species are out there, and most of them want the same worlds that we do. We - and they - will fight tooth and nail to get and keep the precious few worlds that will support life. Existence out in space is much like existence on Earth - a constant struggle for scarce resources, and the species who is best adapted to get and keep planets will be the one that, for lack of a better word, wins. To keep human colonists alive, the Colonial Union has created the Colonial Defense Force. These soldiers, taken from senior citizens of Earth, are given new, superhuman bodies, terrifyingly effective weapons, and just enough training to make sure they can defeat the horrifying things that they are sure to face. John Perry, a widower from Earth, joins the CDF and becomes one of the few Earthlings to learn about the wider universe into which humanity has spread. Sarcastic and quick-witted, Perry learns a lot more than he bargained for - among other things, that his dead wife's DNA had been used to make the Special Forces soldier called Jane Sagan. In The Ghost Brigades, we follow Sagan through the shadowy and violent world of the Special Forces. Where the regular CDF soldiers have bodies that would make them superheroes on Earth, the special forces are on a whole other level. Grown from the DNA of people who did not survive to become CDF soldiers, the special forces are where the newest and most interesting genetic modifications are tried out. Better vision, faster reflexes, a nearly telepathic connection with their squadmates, and even in some cases whole new body plans are all options for the Special Forces soldier. They are single-minded, deadly, and proud, knowing their purpose in the universe almost from the moment of their "birth." What they lack, however, is the years of living that ordinary humans have and all that comes with that. This makes the Special Forces even more separate from the rest of the CDF - human, but not quite, yet essential to the survival of humanity. Jane Sagan is one of the people trying to find Charles Boutin, a brilliant scientist who has vanished, taking a dangerous amount of information on the CDF's mind transference process with him. Their worst fear - that Boutin will try to sell that technology to their enemies - isn't even close to how bad the truth is. Boutin hates the Colonial Union with a passion and devises a plan that will make all human colonies everywhere completely vulnerable to attack. When he dies, the only thing Jane and her squad can do is escape, but not before saving Boutin's young daughter, Zoë, from the terrifying Obin. More on them later, though. Their days of adventuring over, Perry and Sagan marry, creating a partnership that sounds impossible, if you stop to think about it for too long - a man well into his 80s, with the body of a 30-year-old, marrying a woman cloned from the DNA of his former wife, and who is technically still too young to get a driver's license. They love each other, though, and are willing to bring Zoë into their family. Following their discharge from the CDF, they got new, normal bodies and accepted a position on the oddly-named colony world of Huckleberry. In the town of New Goa, John is the ombudsman, which means having to deal with all the petty problems that come with a small town, and Jane is the constable. They live with Zoë and her two Obin bodyguards in what could certainly be considered a good life. So you know that won't last. They are tapped to lead a new colony - a new type of colony, actually. Whereas previous colonists had all come from Earth, the new colony of Roanoke will be founded by representatives from ten of the oldest human colonies. It's a second generation colonization, which would be a fantastic milestone if it weren't for one tiny little detail: the Conclave. Having been willing to fight pretty much everyone in their area of space, the Colonial Union hasn't made many friends. In fact, they have damn few. Their enemies, sensing a common threat, have banded together into an organization called The Conclave, which is working to end interplanetary war through a representative government of sorts. One of their first acts was to forbid colonization by any non-Conclave members. Unauthorized colonies that resist the Conclave are vaporized. Humanity, always the contrarians, wants to flout the Conclave's rule and undermine its presumed authority. Thus begins an intricate web of deception and misinformation and scheming that all centers around the colonists at Roanoke, who know nothing of what's going on over their heads. There are a few clues, though, and when John starts pulling at loose threads, a whole tapestry of intrigue is revealed to him. Roanoke may be vital to the survival of humans in space, but that doesn't mean that the colony itself has to survive. The reason I'm putting these two books together is because they're really one book. The Last Colony is a fantastic read, where every time the plot turns it's like a punch in the gut. The tension never really lets up, and every time we think things are going to get better, that's the cue for them to get a whole lot worse. After finishing the book, however, Scalzi got a light wrist-slapping by his readers for taking a few shortcuts. One is that an indigenous, intelligent life form is discovered on Roanoke, which cause the deaths of several colonists... and then they vanish, never to be seen again. From the description, they sounded pretty cool, and I was disappointed that Scalzi had just let them kind of drift away so quietly. The other problem was with Zoë - Perry comes up with an interesting end-run around the Colonial Union, one which involves Zoë pulling rank with the Obin, who revere her as the daughter of the man who gave them consciousness. She gets sent off with her Obin bodyguards, partly to get help and also to get her out of harm's way, and returns twenty pages later with a piece of alien technology that just happens to be exactly what they need to win the final, climactic confrontation against the Conclave. The author knew he couldn't put all that into the book without producing something of doorstop proportions, so he "did a little hand waving and hoped [he] wouldn't get caught." This is what you get for cultivating an intelligent readership, Scalzi. The other reason for writing Zoë's Tale, of course, was that Zoë was a really interesting character. The daughter of a man who would have betrayed humanity, and at the same time brought consciousness to the Obin - a species that had been uplifted long ago to have intelligence without consciousness. The Obin revere Zoë, and would do anything to protect her. Under these circumstances you might think that she would grow up kind of weird, but she actually ends up pretty cool. We get to see her in action a few times during The Last Colony, and those few times are more than enough to make you want to read a whole book about her. That book, then, is Zoë's Tale, a re-telling of the events of The Last Colony from the perspective of the most important teenage girl in the known universe. It's hard enough being a teenage girl here and now (or so I'm told), so imagine how much harder it must be when your father is one of the greatest traitors to humanity; when your adoptive parents are ex-soldiers, and your mother is technically younger than you are; when an entire species depends on you as a model of what it means to be a conscious, self-aware being; and when you suddenly have to leave your home to start a new colony on a world that no one has ever heard of. That would be enough to mess anyone up. Fortunately, Zoë is a tough girl. She's bright, resilient and sarcastic. She enjoys a deep inner life, knows how to taunt boys, and keeps her head in a crisis. In short, the kind of teenage daughter we would all want to have, if we wanted to have teenage daughters. She and her friends do what teenagers do best: push the boundaries of their new home, have fights, fall in love, and feel big feelings about everything. Through her, we learn a lot more about the indigenous life forms of Roanoke, and we find out much more about the universe at large when she is sent to find a way to save her family and friends. While Zoë's Tale was very enjoyable, I find it hard to evaluate fairly. I love Zoë, and her friends are great characters as well. Scalzi does a fantastic job at writing the intricate webs of angst that make up our teenage years, fraught with emotional land mines and exciting new feelings. Her relationship with her boyfriend Enzo is very well handled, as is the ever-shifting dynamic of friendship between her and the other teens of the colony. There are some beautiful, raw moments of emotion in the book that made me - the man whose heart was long ago replaced by a spinning, cold lump of stone - stop for a moment and say, "Wow." What I can't fairly say is whether or not Zoë's Tale works as a stand-alone book. As I read it, I was constantly filling in gaps from my knowledge of The Last Colony, which made everything make sense. If I had my way, I would wipe my memory of both books and then read them again in reverse order to see if they still worked. Perhaps one day, if Scalzi has a lot of free time, he will integrate the two into a larger single volume. I wouldn't envy him that work, but I think the resulting book would be a brilliant read. One of the things I like about the work of John Scalzi is that I can always recommend him without reservation, so I'm doing that now. If you like good science fiction, an engaging plot and wonderful characters, pick up The Last Colony and Zoë's Tale. You won't regret it. ---------------------------------------------------- "Being from Earth in this universe is like being a small-town kid who gets on the bus, goes to the big city and spends his entire afternoon gawking at all the tall buildings. Then he gets mugged for the crime of marveling at this strange new world, which has such things in it, because the things in it don't have much time or sympathy for the new kid in town, and they're happy to kill him for what he's got in his suitcase." - John Scalzi, The Last Colony "You and I are so totally going to be best friends." "Are we? I don't know. What are the hours?" "The hours are terrible. And the pay is even worse." "Will I be treated horribly?" "You will cry yourself to sleep on a nightly basis." "Fed crusts?" "Of course not. We feed the crusts to the dogs." "Oh, very nice. Okay, you pass. We can be best friends." "Good. Another life decision taken care of." "Yes. Now, come on. No point wasting all this attitude on ourselves. Let's go find something to point and laugh at." - Zoë and Gretchen, Zoë's Tale ----------------------------------------------------- ...more |
Notes are private!
|
1
|
not set
|
Nov 25, 2010
|
Dec 19, 2010
|
Hardcover
| |||||||||||||||
1596062800
| 9781596062801
| 1596062800
| 3.63
| 7,607
| Dec 2009
| Dec 2009
|
liked it
|
There is not, to my knowledge, a whole lot of theological science fiction. Madeleine L'Engle's books may qualify, but to be honest, it's been years si
There is not, to my knowledge, a whole lot of theological science fiction. Madeleine L'Engle's books may qualify, but to be honest, it's been years since I read them so I don't know. The Golden Compass books, too, but they struck me more as fantasy, seeing as how there were no spaceships. My only successful foray into National Novel Writing Month produced some theological sci-fi, but it was questionable at best and is still fermenting on my hard drive somewhere. In any case, that is what John Scalzi has given us, and if you're a regular reader of his blog and his other books then you may find this one to be a little... off. You see, like many accomplished writers, Scalzi has a Voice, a way of writing that is immediately identifiable as his own, and which a lot of his fans have gotten used to. There's no single thing I can point to that really illustrates what this is, but trust me - it's there. A certain whip-quick sarcasm, a way of looking at old questions from a new angle and the ability to cut through the requisite fuzzy thinking that seems so endemic to the human race. In this book, he tries on a new voice, something that sounds kind of like his, but at the same time like he's trying on something new. It's as if Jonathan Coulton started doing Manowar cover songs. It's not bad, it's just something that takes a little getting used to. Captain Ean Tephe is the commander of a great starship, the Righteous, one of the many ships in the fleet controlled by the Bishopry Militant. He and the other captains in the fleet are charged with carrying out missions for the Bishopry in the name of their God, a being of immense power who uses the faith of millions to rule them. Their Lord is a powerful and active god, one who brooks no dissent from His followers and who will suffer no challengers to His dominion. Long ago, the Lord battled countless other, smaller gods, and won, chaining them to his will and turning them into the engines of the great starships that carry His people out into the universe. The god that powers the Righteous, however, is not cooperating. Some ships' gods are quiet and obedient, others chatty, some cowed into good behavior by fear. The god on this ship is defiant, despite the prayers of priests and acolytes, and the horrible whip that the captain wields to compel obedience. This god soon reveals itself to be part of a greater plan, one which enfolds both Tephe and his crew and reveals a truth about their God that is enough to drive men mad. It is a test of faith for the men aboard the Righteous, and if they should fail, their lives will end in short order. It's a very cool concept, really, one which I haven't seen done before. Scalzi has powered a civilization by faith, quite literally, in a God that not only exists, but it quite active in the lives of His worshipers. His high priests exert complete control over a population that rightfully fears for their souls, and manage to channel the God's power into various science-like applications. Through the use of amulets called Talents, the God facilitates communication over great distances, compels obedience, and opens gateways. He has a civilian population whose faith nourishes Him, and a military arm that travels the galaxy spreading His word and destroying His enemies. And it all makes sense. As cool as the idea is, though, the book itself felt like a rough sketch rather than a fleshed-out novel. It's quite short, as novels go, and we are introduced to a lot of concepts and characters in a fairly brief amount of time. The Bishopry Militant, for example, sounds like a great place to see intrigue and double-dealing, lies upon lies that somehow manage to get things done, and we do see a bit of that when Captain Tephe gets a secret mission to a new world. Scalzi showed us in The Last Colony that he can handle this kind of multi-layered politicking, and I think it would be even better in a place like this. Add to that the Rookery, a kind of church-sanctioned brothel/therapy center aboard the ships, where the women who work there have nearly as much power and influence as the Bishopry itself. What would happen if these two institutions came into conflict, and what weapons would they wield? The chained gods, too, are a wonderful chance to explore a lot of ethical questions. They are undoubtedly sentient beings of great power, enslaved by a God that is stronger than they. Is this kind of slavery justified? Would it be possible for a ship to work with its god-engine, rather than compelling it with whips and prayers. What do these gods know, and how reliable are they? The god powering the Righteous seems to know a lot about how this universe works, including some terrifying tales about the God that Tephe follows, but how much of what it says can be trusted? And what are the powers and limitations of a faith-powered science? Much in the way that engineers and scientists in our world manipulate a few basic laws of nature to achieve amazing things, what could be done in a world where prayers have power and where a high priest's whim can decide the outcome of an entire mission? How do you creatively solve problems in a reality like this one, where they deal in belief and faith, rather than wavelengths and mass? So yeah, there was a lot that I wanted from this book once I figured out what Scalzi was doing with it. After a great opening line (and a third line that just left me confused), the learning curve was a little steep. Once you figure it out, though, the possibilities seem endless. Unfortunately, the book itself ends rather sooner than it should. It's not my favorite book by Scalzi, not by a long run, but since he's said he's going to lay off the Old Man's War universe for a while, I should be thankful that he is willing to experiment and try new things. As many music lovers know, it's sometimes very hard to accept that an artist you love wants to try to do things that are new and different, rather than keep doing the things that made you love them in the first place. I remember when U2 put out Achtung Baby and my friends who fell in love with The Unforgettable Fire and The Joshua Tree and Rattle and Hum were almost personally offended. Zooropa, of course, was not to be mentioned aloud in their presence. That kind of experimentation and risk-taking, however, is ultimately what helps an artist grow. You may not like what comes of such experimentation, but that's tough – it's not about you. I don't know if Scalzi will return to this universe or not, but I hope he does. If he does, I hope he lingers longer than he did in The God Engines, and brings forth another wonderful and complex universe. ------------------------------------------------------------ "Faith is not for what comes after this life. Faith is for this life alone." - A God, The God Engines ------------------------------------------------------------ ...more |
Notes are private!
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1
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not set
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Dec 19, 2010
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Dec 19, 2010
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Hardcover
| |||||||||||||||
0982167121
| 9780982167120
| 0982167121
| 3.93
| 7,358
| Oct 13, 2010
| Oct 13, 2010
|
it was amazing
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How would you live if you knew how you would die? The premise for this collection of short stories was introduced back in 2005, in an installment of Ry How would you live if you knew how you would die? The premise for this collection of short stories was introduced back in 2005, in an installment of Ryan North's popular Dinosaur Comics. In it, he presents the following premise: there is a machine which, with only a small sample of your blood, can tell you how you will die. But there are no dates, no details, no explanations. Just a few words, and that's it. The Machine is never wrong, but it is annoyingly vague and has a decidedly un-machinelike love of irony. So you might get OLD AGE and think you were set, right? Not necessarily. You could be murdered by an octogenarian while trying to steal their TV. Or you might get PLANE CRASH and decide never to fly again. Fine, but that won't stop the single-engine Cessna from plowing into your house one fine spring afternoon. Pulled GUILLOTINE, did you? Hope you know to stay away from heavy metal concerts. But it doesn't matter. The Machine, while perversely misleading at times, is never wrong, and like most prophets, its predictions often only make sense after the event has already happened. With that premise, hundreds of writers across the internet set to work. How would this Machine affect people? How would it affect society or business or politics? Would we become slaves to its predictions, or simply shrug it off and live our lives as we did before, knowing that we were going to die someday anyway? In "Flaming Marshmallow" by Camille Alexa, we see how the existence of the Machine has begun to shape youth culture. Carolyn is about to turn sixteen, the legal age at which one can be tested. A milestone equivalent with getting one's driver's license or being able to vote, kids monitor each other's fates with scrupulous detail. Your eventual manner of death brings you together with those of similar fates, and new cliques begin to form. Kids who are going to die violent deaths sit together in the lunch room, far away from the ones who get OLD AGE. The kids with DRUG OVERDOSE and fates like it all mill about with each other, and nobody talks to the ones who get SUICIDE. By finding out one's manner of death, a teenager gets what teenagers always want: a sense of belonging and inclusion. But will Carolyn's fate bring her closer to her fellow students or just leave her an outsider? "After Many Years, Stops Breathing, While Asleep, With Smile On Face," by William Grallo, continues that idea out into the adult world. Ricky is dragged out on the town to a nightclub where people flaunt their deaths. They wear fake toe tags with MURDER or HEART ATTACK on them. Or, if they're feeling impish, NEVER, or BOREDOM. But while everyone else is mocking their deaths, Ricky is in the odd position of knowing that he's got a good end to his life. What he doesn't know is what will happen between now and then, or with whom he will share it. David Malki ! explores the darker side of society's reactions in "Cancer." James is a young man whose father is dying of cancer. It's what the Machine had predicted, and it was all coming true. Despite the Machine's infallibility, however, his father was seeking out a cure, a way out from the fate that had been given to him. And he's not the only one - a new generation of hucksters and faith healers has sprung up, all claiming to be able to defy the predictions of The Machine. It gives James' father hope, but whether that hope is worth the price or not is something James is unsure of. "Nothing," by Pelotard, is a touching tale of a young woman who discovers a family secret that never would have been revealed before the Machine was invented. "Despair," by K.M. Lawrence, is an examination of how paralyzed people might become by the ambiguity of the predictions, unable to act lest they inadvertently fulfill them. "Improperly Prepared Blowfish" by Gord Sellar is an entertaining moment of secrets and betrayal among a group of yakuza in Japan, and Ben "Yahtzee" Croshaw has some fun with the politics of Machine predictions by giving us a politician whose fate is to die from EXHAUSTION FROM HAVING SEX WITH A MINOR. Some stories are funny, others are touching, but they all center around that most existential of questions: how do we live, knowing that we will die? Without The Machine, we still know we're going to die. Every one of us has, somewhere in the back of our mind, that constant reminder that our lives are finite, that there is a limit to the amount of time we can spend on this earth. And, for the most part, we choose to ignore it. After all, if you spend your whole life obsessing over your own death, then you can't have much of a life, now can you? But add to that fundamental knowledge of finitude the extra awareness of the manner of your death. If you get CAR CRASH, what can you do with that knowledge? You know it's inevitable, that The Machine is never wrong, but you may still struggle with that fate. You may cut up your driver's license, move out to Amish country and vow never to be within striking distance of a car again. The entire course of your life will shift drastically, based on the two words printed on that card, but the end result will be the same: CAR CRASH. Knowing that, is it better to act on the knowledge you have gained, or to ignore it? Even worse, sometimes the very act of finding out your fate leads you right to it. In "Suicide" by David Michael Wharton, characters learn about their deaths only moments before experiencing it. Had they not gone to get tested on The Machine - had they not gone to that machine - would they have avoided their fate? The Machine would say no, but you'd have to ask it first. The best expression of this paradox is contained in the book's shortest tale, "HIV Infection From Machine of Death Needle" by Brian Quinlan, wherein the very act of discovering your fate causes that fate to happen, whereas you would never have had it if you hadn't gone looking for it. It's kind of a mind trip, if you think about it. What if you get something fairly straightforward, like CANCER, and you decide to, say, jump out of an airplane without a parachute? Will that even be possible, or will random events conspire to keep you safe until your proscribed end? And if you get SUICIDE, the one form of death you have absolute control over, do you fight against it or give in, knowing that nothing you do will change the outcome? And what could this tell you about the future for everyone? In "Heat Death of the Universe," by Ramon Perez, teenagers who reach the legal testing age start getting NUCLEAR BOMB as their means of death. The government springs into action, testing, re-testing, and vowing to corral all these kids into one place. But if their deaths are inevitably by NUCLEAR BOMB, what does that mean? It means that whether they're all in one place or dispersed across the country, that is how they will die. Acting on the information doesn't change its outcome, only what the manner of that outcome will be. Conversely, it might be impossible to predict anything from the predictions The Machine gives out. As was pointed out in the same story, the 3,000 victims of 9/11 probably wouldn't have all had TERRORISM printed on their little cards. They might have had FALLING or FIRE or PLANE CRASH - all true, but none of that would have helped anyone prevent that event. Even something as clear and unambiguous as GLOBAL THERMONUCLEAR WAR creates problems, as Cassandra finds out in the story of the same name by T. J. Radcliffe. If you tell people about this future, will they even believe you? Or will the actions they take to prevent it instead be what causes it to happen? There are no easy answers, at least not without electroshock. It's a fascinating group of stories, illustrated by some of the internet's best artists - Adam Koford, Kevin McShane, Aaron Diaz, Kate Beaton, Christopher Hastings, and too many others to mention. It will do what all really good writing should do - make you think. As seductive as it sounds, knowing the means of your death is information that you really can do without. It is the end to your story, whether you know it or not, but everything until then is still up to you. While you may not have any choice over how you die, you still have plenty of control over how you live. You can live in fear or hope, make plans and take risks and hope for the best. Just like we do now. I'll leave you with a joke from Steven Wright, one that was running through my head as I read the book: My girlfriend asked me if I could know how and when I was going to die, would I want to know? I said, "No, not really." She said, "Okay, forget it, then." Thank you, he'll be here all week. ------------------------------------------------------- "What good is knowing the future if you can't do anything with the knowledge?" Dad, from "Friendly Fire" by Douglas J. Lane ------------------------------------------------------- ...more |
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not set
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Nov 27, 2010
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Nov 27, 2010
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Paperback
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0812550706
| 9780812550702
| 0812550706
| 4.31
| 1,429,528
| Jan 15, 1985
| Sep 30, 2004
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it was amazing
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A little while after I started teaching literature, I thought about what kinds of books I'd like to do with students in the years to come. The texts I
A little while after I started teaching literature, I thought about what kinds of books I'd like to do with students in the years to come. The texts I did this year - Fahrenheit 451, Things Fall Apart and a collection of Edgar Allan Poe stories - are all well and good, but probably not what I would have chosen to teach. I wanted something that would speak to the students, that would engage with their lives, and which ideally was some good classic science fiction. So I went over to Ask Metafilter and asked them what science fiction they would recommend teaching to high school students studying English as a foreign language. Just about everyone mentioned Ender's Game, and with good reason. It's a good story, for one, and it addresses a lot of the issues that young people have to deal with that are often left out of the literature they have to read for English class. The adults in the book are like the adults in the students' lives - slightly removed, seemingly omniscient, and not necessarily acting in their best interests, at least not as they see it. It deals with issues of bullying and isolation, of fitting in and standing out and accepting your place in the grander scheme of things. It's about critical thinking and moral reflection, all wrapped up in the unending carnival that is youth. Ender Wiggin is, as our book begins, six years old, and he may be the last, best hope for humanity. Ender comes from a strange place. In a near-totalitarian America, families are allowed to have only two children, in order to keep the population static. If a good reason exists, however, they might be allowed to have a third. That third is destined from the beginning to have a hard life, no matter what happens, especially if that third has been bred for a very specific reason. Ender Wiggin is a Third. His parents had two children already - their son, Peter, and daughter, Valentine. Peter is a brilliant young sociopath, and Valentine is an equally brilliant pacifist. In ordinary times, either of them could have been an historical figure, but these were far from ordinary times. Earth is at war with an insectile alien race it has nicknamed the Formics (nicknamed "Buggers"), and has survived two invasions. Everyone knows there will be a third, and if they can't fight it off then humanity will be scythed clean off the planet. The International Fleet needs a commander, one who has enough empathy to understand the enemy, but who also has the killer instinct to be able to wipe them out. Where Peter is too hard and Valentine is too soft, Ender Wiggin could be the one they're looking for. Young and frightened, Ender is taken off-planet to Battle School, where he and hundreds of other youths will take part in battle games to train them in how best to one day defeat the Buggers. While Ender knows that he's been chosen, he doesn't know why, and his experiences in the school lead him to wonder if being a Chosen One is really worth it. In game after game, Ender manages to prove his worth to the International Fleet by defying their expectations of what a battle commander should do. He is pushed to his limits and beyond by the International Fleet, whose motives and methods remain a mystery to him until he has accomplished their goal - one which he never even knew he was aiming for. It's a fun book, and a very quick read, and it's one of those "I should have read this when I was a teenager" books. While I was never put in a position where my action could very possibly save the existence of all humanity, I - like every other teenager ever - had doubts about my place in the world. I saw the conflict between what I wanted for myself and what the adults in my life wanted for me. I was given responsibility that I didn't want, and had to make a choice about whether or not I would live up to it. In other words, while the scale of Ender's problems are much bigger than that of the average young person's, they are essentially the same. I am fortunate in that Ender's Game can work to explode a pervasive and not entirely accurate belief held by all teenagers everywhere, from the dawn of time until now: the belief that there is no one else in the world who understands what they are going through. The big question then becomes, How do I teach this? What can I do to not only get my students to read it but to also understand its relationship to their own lives? However I manage to do it, that will hopefully reveal to them the whole point behind reading for pleasure: that you can look at a book or a story and say, "Yes - life is like this." Not all of it, but you can find that moment, that point of any story that can connect what it is saying to your own life, and thereby learn something from it. There are also a whole host of other issues that can be brought up with this novel, not the least of which is the systematic indoctrination of young people by their educational system. Perhaps a bit self-defeating, but the anti-authoritarian in me would be vastly entertained if I could somehow encourage these kids to look suspiciously upon the very foundation of the system in which they were currently residing. There is also the greater issues of how a society teaches its children, and the limited value of truth. We tell kids that "honesty is the best policy," but this book blows that axiom away. If they had told Ender the truth about what he was doing and why, he would have refused, and Earth would likely have been wiped out. In the same way, how do we - adults, and especially teachers - lie to young people in order to achieve a greater goal? What value, then, do these lies have, and are they worth telling? We can explore redemption and atonement through Ender's attempt to make up for the things he has done. Even more interestingly, we can look at Card's prediction of how the internet would shape political discourse and how citizens can easily be manipulated. Peter and Valentine put on electronic personae through which they gain immense power despite their youth, using their own innate genius to spark debate on the topics that will achieve their own goals. Outside the text, too, there is an excellent opportunity to discuss the relationship between a work and its author. While Ender's Game is a brilliant story that is so well-written that it is recommended reading by both Quakers and the U.S. Marine Corps, its author holds some rather despicable views that don't seem to mesh with the message he has put into his book. I speak here of Card's public denouncement of gay marriage, including accepting a position on the board of directors of the National Organization for Marriage. This group has made many attempts to block the spread of queer civil rights in the U.S., and it disturbs me that an author whose work I respect is spearheading the effort. What, then, is my responsibility as a reader? Should I never read his work again, lest it be seen as a show of support for his politics? Can I even read him fairly from now on, or will I always be looking for that anti-gay undercurrent, perhaps where there is none? Or should I simply ignore the author and enjoy the work? There are a great many authors and artists who are in the same position as Card, and it is a worthwhile discussion to have. There are so many topics to mine from this book that I had to stop myself from time to time and remember to enjoy it, rather than make mental lesson plans. In any case, if you haven't read Ender's Game, I recommend that you do. If you have a young person in your life, see to it that he or she has a chance to read it as well. If you're really lucky, it'll foster a lifelong love of reading. If not, at least they might walk away with the understanding that their problems are pretty universal, and that, on the whole, things could be a whole lot worse. They could be Ender Wiggin. ------------------------------------------------------------- "It was just him and me. He fought with honor. If it weren't for his honor, he and the others would have beaten me together. They might have killed me, then. His sense of honor saved my life. I didn't fight with honor... I fought to win." - Ender Wiggin, Ender's Game" ------------------------------------------------------------- ...more |
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Oct 20, 2010
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Nov 22, 2010
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Mass Market Paperback
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0441359175
| 9780441359172
| 0441359175
| 3.67
| 12,383
| Dec 01, 1970
| Apr 15, 1987
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did not like it
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One of the things I enjoy about Heinlein is that he likes to play with Big Ideas. While he did dip into the well of action and adventure, especially f
One of the things I enjoy about Heinlein is that he likes to play with Big Ideas. While he did dip into the well of action and adventure, especially for his juvenile stories, he treated his readers like they were only slightly intellectually inferior to him, and so explored concepts that required a lot of heavy thinking. The need for war, the inevitability of messiahs, revolution, life, death, immortality - he's not afraid to shy away from some of the greatest philosophical topics that reside in the human heart, and this book is no exception. Johann Sebastian Bach Smith is a very old, very sick, very rich man. He built himself up from nothing and rose to financial prominence in what is a little more than a regular human lifetime. Smith had it all - a rich and exciting life, complete financial security, good friends and good memories in a world that had, frankly, gone to hell. He had very nearly everything a person would want to have. What he didn't have was time. He lived in daily pain, kept alive by only two things: an ever-increasing number of machines and a plan to release himself from the geriatric horror his life had become. He knew that this plan would probably fail. He knew that he was facing death no matter what happened. He knew that it was crazy, and not necessarily crazy enough to work. But it was all that stood between him and suicide. That plan was, in theory, very simple: transplant his healthy brain into the body of a healthy young person. By doing so, he would gain a whole extra lifetime to enjoy the fruits of his first lifetime's labor. Not being a monster, he was prepared to do this in a legal and ethical fashion. With his legal, medical, and judicial contacts, he made arrangements with a medical advocacy group to get the body of a healthy young person who died due to some massive brain trauma. And - and this is important - who consented to having their body used for medical experimentation. Everything would be above-board, legally sound and ethically certain. All Smith had to do was stay alive until a body became available. When it did, however, he was in for a double surprise. Not only was the healthy, youthful body that of a female, it was that of his healthy, youthful, beautiful secretary, Eunice Branca. Eunice had been murdered, but her body was in excellent condition. She had the right blood type, and had consented to have her body used for Smith's experiment. The one doctor in the world who could perform the surgery was brought in to perform it, and against all odds, it worked. Johann Sebastian Bach Smith was reborn as Joan Eunice Smith, and her new life began. But she was not alone. By some means, Eunice's mind survived to live with Joan, and tutor her in all the ways of being a woman. Joan dove happily into her new life, exploring her new femininity and sexuality as best she could. In that sense, this whole book is an exploration of sexual identity. Here we have a man who is now a woman, even though that was never his intention. He soon finds himself thinking like a woman, though, bringing up the question of whether gender is determined by a person's mind, or by the body it inhabits. If you put a male mind into a female body, with the vastly different hormones and sensory inputs, will that male mind start to act like a female? And even if it does, should it? Smith makes a decision to, with Eunice's help, be the best woman he can be, mostly because he feels that is what is expected of him. After a lifetime of conforming to male societal roles, Smith wholeheartedly embraces the female ones, up to and including seducing his best friend of many decades. Gender identity in this book is a tangled mess of biology and intention, and it looks at being female from a distinctly male point of view. Which brings me to my first problem with this book: the casual misogyny. I know it's a pretty loaded word to throw around, and it's not entirely accurate, but it was the one that kept coming to my mind. While Heinlein is certainly capable of creating strong and independent female characters, and emphasizes over and over again that both Eunice and Joan are actively choosing the lives they lead, those lives are almost entirely dependent on and revolve around men. One of Smith's first actions when he goes from Johann to Joan is to latch on to a man - her old friend Jake Saloman. She views her identity as a woman as incomplete without a man to base it on, and spends most of the book trying to figure out who she is in relation to men - Jake, her security guards, Eunice's widower, and more. She repeatedly mentions how helpless she is without a Big Strong Man in her life, and all of this culminates in what is possibly one of the most misogynist moments I have ever read in sci-fi: a spanking scene. And not a sexy one, either. In a moment of adolescent pique that Jake won't sleep with her when she wants him to, Joan throws a fit, disrupting their dinner plans. Jake proceeds to throw her over his knee and give her a spanking because, and I'm quoting here, "You were being difficult... and it is the only thing I know of which will do a woman any good when a man can't do for her what she needs." Joan accepts the spanking meekly, not only thanking Jake for his spanking, but also claiming that she had her first orgasm while he did it. Wow. That's nearly as bad as the other major female character, Winnie, who talks about a gang rape experience with what can almost be imagined as fondness. Oddly enough, this is not my biggest problem with the book. I mean, it was written in the late '60s, and it reflects the thinking of that era. For all his progressive beliefs, Heinlein was still a man of his time, and it really shows here. Legend [1] has it that he was really sick when he wrote this book, and that may have had something to do with the fact that no matter how many complex hot-button issues he touches (gender roles, homosexuality, same-sex marriage, overpopulation, government overreach), the fact remains that there is no story in this book. Let me explain. A story needs conflict. It needs not only a protagonist that is trying to achieve something, but obstacles that impede that achievement. There were so many potential goals and obstacles to be explored in this story - a man's brain in a woman's body - but Heinlein manages to artfully dodge all of them. The story of Smith's inner struggle to resolve the gender he grew up with with the gender he now possesses would have been fascinating. But it didn't happen. Smith pretty much accepts the change right away, with few if any reservations. Even so, he could have struggled with how to live as a woman – should he adopt the identity that a patriarchal society would confer upon him as a woman, or forge his own as a uniquely gendered person who has gone from the privileged to the unprivileged sex? Unfortunately, the conflict doesn't even occur to Joan. She decided to be the best woman she can be, constantly asking others what that entails, rather than asking herself. Or how about the concept of Identity itself? Smith is an old brain in a new body, so is he legally the same person he was before the surgery? That would be an amazing story as he tries to prove that Johann has become Joan, and that even though Eunice's body is still walking around, she's actually dead. But no - Smith has some powerful legal friends with ironclad arguments, and the legal proceedings are pretty much a foregone conclusion. Or how about rejection by society? Regular transgendered people have a hard enough time getting society to accept the modification of the body they were born with - what about when someone takes on an entirely new body entirely? Joan could have struggled to get her friends and family to accept who she has become, to stand before the world with her head held high. But no.... She has enough money that she doesn't really need society's approval, none of her friends have any trouble with what she's become, and even Eunice's widower has only a moment of uncontrollable emotion before accepting that his wife is dead, but still walking around. And he might get to sleep with her again. One last one - the soul. Joan hears Eunice's voice in her head, but it's unclear whether it is really Eunice or if it's just Joan's imagination. What's more, they never fight. They never have a serious disagreement and have to resolve their differences so that they can continue to occupy the same skull. Eunice and Joan live together like wisecracking sisters and never have to deal with the problem of living with someone you can't get rid of, even if you're not sure if they're real. In other words, there's no there there. It's a long, talky, philosophical exploration of some fascinating topics, but as a novel, it's incredibly dull. You keep waiting for the blow-up, for the accident, for the Big Problem that Joan and Jake have to struggle to overcome, and it never arrives. Everything works out either through money or force of will or Heinlein's trademark Sheer Damn Reasonableness. Between that and the constant thought of, "He did not just say that," I found this book rather stressful to plow through. It offers up a lot of big ideas to think on, raises some very important questions, and Heinlein's gift for dialogue makes some fun conversations, but I think I would have liked it more if it had been completely different. ------------------------------------------------------ "Sir, if you want to give me a fat lip, I'll hold still, smile happily, and take it. Oh, Jake darling, it's going to be such fun to be married to you!" "I think so too, you dizzy bitch." - Joan and Jake, I Will Fear No Evil by Robert Heinlein ------------------------------------------------------ [1] Wikipedia ...more |
Notes are private!
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Oct 11, 2010
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Nov 06, 2010
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Mass Market Paperback
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000712774X
| 9780007127740
| 000712774X
| 4.13
| 103,516
| Feb 1951
| Aug 2002
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really liked it
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As a newly-minted high school reading teacher, my introductory book to spoon-feed to the young'ns was Ray Bradbury's Fahrenheit 451. It was a really g
As a newly-minted high school reading teacher, my introductory book to spoon-feed to the young'ns was Ray Bradbury's Fahrenheit 451. It was a really good one to start with, as it had a fairly simple and uncomplicated storyline, a small cast of characters, and fairly well-defined themes and literary techniques. Therefore, teaching it to students who weren't native speakers (but whose English was really good nonetheless) was a good experience. I hadn't read a whole lot of Bradbury prior to that, and really fell in love with the book. F451 was a great read, and something I'll review here once I've let it settle down a bit in my head. After all, I've spent the last couple of months teasing every shred of meaning I could out of it, and that's not the kind of review I write here, now is it? Reading the book gave me a new interest in reading Bradbury, so I picked up a couple of short story collections and started to make my way through them. While I was talking to my department head about it, she recommended that I read The Illustrated Man, a copy of which she just so happened to have sitting around. The Illustrated Man is a collection of eighteen short stories, more or less unrelated, but brought together under the larger, over-arching story of the Illustrated Man himself. Our narrator, you see, meets a large man on the road. The guy is covered with tattoos, of the highest quality. Their colors are vivid, their details are lifelike, and the man says that, at night, the tattoos come alive. They tell stories, if you watch them long enough. And if you watch them too long, you may see your own future as well.... Well, the narrator decides to watch as the Illustrated Man sleeps, and what he sees are the stories that are presented in this volume. By and large, the stories are unconnected to each other, which means we can go from a strange future where one family's house takes care of all their material needs to a poor farmer who manages to avoid the end of the world by being in one of his own. Still, there are a few thematic threads that run through the book that are interesting to look at. One of these themes is the way we relate to technology. Nowhere is this more obvious than in the first tale of the book, "The Veldt." In this story, we meet a family who are completely dependent on their house. It's a technological miracle, where everything is completely automatic. The thought of actually cooking a meal is tantamount to barbarism, and their idea of taking a vacation means just shutting down the more obsequious functions of the house. One of these is the children's nursery. Akin to the holodeck, this room can replicate any environment that the users want. The children's fascination with the savagery of the African savanna worries their parents, though, and the threat of having the room shut down eventually becomes more than the children - or the house - can tolerate. In "The Concrete Mixer," a Martian invasion force finds themselves overcome by the technology of Earth. Not the military technology, mind you, but the mindless, brain-destroying technology of leisure. Faced with TV and radio, casinos and bars, drive-in movies and fast food, the Martians discover that Earth is far more dangerous than they had ever expected. In "Marionettes, Inc," Bradbury weaves a tale worthy of Philip K. Dick, telling about a very special service that will create an exact android duplicate of yourself. This robot will do all the tedious things in your life, such as go to work, do chores and tolerate your spouse. But what if the perfect robot duplicates are too perfect, and decide that they don't really want to do the drudgery anymore? In "The City," a self-aware metropolis wakes up after twenty thousand years with the arrival of human astronauts - and immediately begins planning its revenge on those who left it so long ago. Another recurring theme in this collection is that of seeking happiness, through one means or another, and only occasionally finding it. In these stories, characters are looking for something that will make their lives worthwhile, or at the very least a little bit better. In "The Long Rain," a group of explorers on Venus want just one thing - to get out of the eternal, unceasing rain that pummels the planet. The Sun Domes are their only shelter, if they can find one before they die or go mad. In "No Particular Night or Morning," an astronaut searches for the only thing he can be absolutely sure of in this universe - nothingness. In "The Man," a group of interstellar explorers are looking for a being, who may or may not be Jesus Christ, going from planet to planet and always finding themselves just a little bit too late. In "The Rocket," a poor junkyard owner wants more than anything to fulfill his dream of showing his children outer space, and manages to do it in a slightly roundabout way. And in "Rocket Man," a father tries to find what he really wants - to live among the stars or to stay with his family on Earth, and ultimately realizes that he wants - but cannot have - both. The stories in here are all pretty good, and there were a few I want to touch on in more detail. The one that I took the most notes on was "The Other Foot," a tale of Mars and the shocking reversal of racial discrimination. In this story, Mars has been colonized by Black exiles from the United States, sent off-planet in an ultimate act of segregation. After decades of eking out an existence on that harsh planet, they learn that a rocket from Earth - probably containing a white astronaut - is on its way. The community reacts in a knee-jerk fashion, preparing a new apartheid on Mars - re-creating the worst of Jim Crow, only in reverse. When the rocket touches down and announces that nuclear war has destroyed everything the colonists had known and loved about Earth, and that white Americans had come to Mars to beg for the help of its citizens, the mob has a change of heart and decides to let bygones be bygones. As much as I hate post-modernism, I couldn't shut off my critic's voice while reading this story. I wondered if a story about Black oppression written by a white author must automatically be racist in nature, and I wondered if Bradbury's suggestion that Black colonists on Mars would, as a first reaction, try to re-create the worst conditions they had endured on Earth might not be rooted in a fundamental misunderstanding of Black culture. Then the Intellectual Machine That Eats Itself (i.e. Postmodernism) began to ask if perhaps these thoughts were rooted in my own unacknowledged racism, at which point I had to just finish the damn story and move on. It's a question that probably wasn't asked fifty years ago, though, which makes the story an interesting one to revisit in our slightly more enlightened age. Another story that I really enjoyed was "The Exiles," which has also been titled "The Mad Wizards of Mars." In this tale, the great writes of fiction - and their works - are living (where else?) on Mars. There you can find Edgar Allan Poe and Ambrose Bierce living with Charles Dickens and Shakespeare. They're on Mars because Earth has been systematically destroying their works, and thus depriving them of immortality. When a rocket arrives from Earth carrying the last load of books to be destroyed, the fictionauts launch a last-ditch attempt to save themselves. With Poe leading their armies, they pour all of their power into stopping the rocket. Shakespeare's witches fling curses at the astronauts, and Poe summons all the armies of fiction to defend their existence. It's a story that you can tell Bradbury had a lot of fun writing, and is full of wonderful references to the authors he loves. Just the image of Edgar Allan Poe screaming defiance at the air is one that I will treasure every time I read the tale. What's really wonderful about this collection is that it's aged well. Published in 1951, it does suffer from some of the mid-century sci-fi tropes of the day, and modern writers would never be allowed to get away with something like a rainy Venus or humanity calmly accepting the end of the world. But they're still great stories, and well worth the read. So go read 'em. ...more |
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Jul 21, 2010
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Jul 23, 2010
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Paperback
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0886777631
| 9780886777630
| B00217NM78
| 3.93
| 28,335
| Dec 05, 1996
| 1998
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it was amazing
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Let me just start by saying this: the first time I finished this series, I immediately went back and started reading it again. I can't think of any ot
Let me just start by saying this: the first time I finished this series, I immediately went back and started reading it again. I can't think of any other series that I've done that with. This is one of Tad Williams' "economy-sized manuscripts," similar to his fantasy classic Memory, Sorrow and Thorn. Similar in size and scope, anyway - four giant tomes chock full of all things awesome. It's a series of grand scope, amazing scale and great imagination, well worthy of your time. It's a complex, interweaving of tales, full of vibrant characters, implacable enemies, and important questions about destiny, identity, consciousness and the very nature of reality itself. Seriously, top-shelf stuff here, people. It begins in a near-future world, and it begins with the children. Renie Sulaweyo, a teacher in South Africa, has a brother in the hospital. He, like many other children around the world, has gone into an inexplicable coma, the causes of which defy medical science. The only clue she has is that the outbreaks of these comas coincide with the availability of access to the Net - a virtual reality internet that is what Second Life dreams of becoming. Here, depending on your equipment, you can live in a virtual world that is more vibrant and exciting than anything the real world can offer. And you can do it in full sense-surround 3D. Renie's brother, Stephen, engaged in the usual mischief that any kid with access to his own virtual universe might do, and finally got caught. Something shut him down, and Renie was determined to find out what did it. With the assistance of her student, a Bushman named !Xabbu, Renie uncovers an amazing virtual world, something that puts the best virtual reality to shame. It is the Otherland, a playground for the obscenely wealthy. And it may hold the secret to what has afflicted her brother. That's the short version, and since Renie is the one we're introduced to first, it would be easy to think of her as the protagonist of the story. That would be highly inaccurate, though. There's a lot of other storylines going on in there as well. There's young Orlando Gardiner, who compensates for a crippling illness by being the baddest barbarian on the net. His best friend, Sam Fredericks, has stood by him for many years in an online game that makes World of Warcraft look like pen and paper D&D. They and others are lured into a deadly quest by a vision of a great golden city, more realistic and magical than they ever thought they could find. Out in the real world, there's little Christabel Sorenson, upon whose earnest desire to help the funny-looking Mister Sellars the entire future of the Otherland rests. There's the aptly-named Dread, an assassin extraordinare whose strange "twist" gives him an edge in all things electronic. And, of course, there is Paul Jonas, a man trapped in an imaginary world, whose escape threatens the greatest dreams of the richest men the world has ever known. All of this, as the series title suggests, centers on the Otherland project, a virtual reality of monumental proportions. It's a digital world that is more real than the real world is, a world of computer-created, but very deadly, dangers. The slightest misstep could spell disaster and death - die in the Otherland and you die in real life. And just FYI, Otherland predates The Matrix by three years and, kung-fu aside, is a much better story. So if you're thinking, "Man, this is just a Matrix rip-off, you're very, very wrong. It's a daunting series to begin. After all, it's four books, each one clocking in around 800 to 900 pages. There are at least fifteen major characters, and the Otherland itself shows us seven different "worlds" in this book alone. There's a lot to take in, and on top of all that, there's a whole world happening outside the story - each chapter is preceded with a small news blurb that tells us about things that are going on in the world. Cops rounding up homeless kids in lethal "snipe hunts," homicidal artists, legislative representation for the industrial sector of America - this world is both familiar and alien at the same time. The good news is that it is a lot of fun to read. The pacing is very good, so you never get too bored watching any one character for a while. What's more, Williams pays homage to some of the greatest fantasy and science fiction the English-speaking world has to offer. At one point, even the characters admit that they seem to be caught up in a very familiar story. So my advice is to just dive right into it. Once you get going, things clip along at a good pace and you'll find yourself on page 943 in no time flat. The really fun part is re-discovering things in this series. There are some things I remember very clearly, but other little details that pop up and make me think, "Oh yeah, I forgot all about that." I enjoy seeing Williams' prescience - after all, he wrote this just as the internet was really becoming popular, and a good ten years before things like online gaming and social media took over our lives. His vision of an immersive, VR world may have seemed a little wild and out there back in the mid-nineties, but not anymore. So, make a sandwich and find a comfortable place to sit. This'll take a while, but I guarantee - it'll be worth it. ...more |
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Jul 08, 2010
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Jul 11, 2010
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4.09
| 482,613
| 1968
| Jun 1996
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it was amazing
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I have kind of a weird confession to make. It's not really a confession as such, since you only confess things that you're ashamed of or that you feel
I have kind of a weird confession to make. It's not really a confession as such, since you only confess things that you're ashamed of or that you feel you have done wrong. But this is something that I believe people may find a little odd, so I suppose it's the best word under the circumstances. I don't kill cockroaches. Fortunately, I live up on the tenth floor in a nice modern apartment building, so they're not really a problem for me. But even in my old place, where they'd turn up from time to time, or walking about in the city, where you're bound to see them, especially after dark, I feel no desire to do what everyone else seems to do - freak out and jump on them with both feet. After all, why should I? They're just being what they are. They're just doing what millions of years of evolution have programmed them to do. They don't act out of malice or with the intention of trying to harm me, so I say live and let live. Oh, don't get me wrong - I don't let roaches stay. I'll capture them, take them out to the riverbank or somewhere and let them go. I'll put down deterrents to roaches around the house. I may be kindly-disposed towards all living things [1:], but I'm not an idiot. My point is, I feel a certain empathy towards those little guys, just trying to make their way in a hostile, anti-cockroach world. And that's how I know I'm not an android. When we talk about things like computer intelligence, one of the questions that comes up is how we would tell an artificial intelligence apart from the real thing? For a computer-bound AI, there's the Turing Test - a conversation with a human wherein the human cannot tell that she's talking to a computer. And that's good, as far as that goes. But what if we start putting them into physical bodies? What if we make these AIs in our image? Fleshy, sweaty, hairy robots that look and behave just like humans do? How, then, would we be able to tell the difference between a made being and a natural-born human? Philip K. Dick's answer is empathy, and it is at the core of this book. Dick is kind of like science fiction's mad mystic. He explores the hidden inner worlds of the people involved in the story, peeling apart issues of identity and psychology and reality itself, forcing the reader to ask him or herself what's really going on. In other words, reading his work can be something of a head trip. This novel introduces us to a near-future America, one which is greatly different from the one we know today. After a devastating nuclear war that wiped out countless species of plants and animals, the planet is being slowly emptied out. Those who are young, healthy and fertile are allowed to emigrate to off-world colonies. With them go the androids as servants, workers and slaves. Some people stay on Earth for reasons of their own. J.R. Isadore, for example, is a "special," one who doesn't make the genetic grade to leave the planet. Rick Deckard, on the other hand, is a bounty hunter, a man whose duty is to hunt down and destroy androids that come to Earth. Deckard has been handed a special assignment - six androids of the latest model, Nexus-6, have landed nearby. They're strong, intelligent, almost indistinguishable from humans, and Deckard has to "retire" them all before they get away. Like many people, I first encountered this story in the movie Blade Runner, which followed much the same path. And, probably like a lot of people who saw the movie first, I was a bit thrown by the difference between the two. Rick Deckard in the book is not the morose lone wolf that he is in the movie. He has a wife here, and an electric sheep that he keeps on the roof (though he'd never admit to his neighbors that it was electric.) He has an interest in animals - the keeping of which is a mark of true status in a world where so many species have gone extinct. He's a more interesting character, with more depth and inner conflict than we see in the film. On the other hand, Roy Baty, Deckard's adversary, is far less interesting. He's intelligent and cruel, yes, but with so much less visceral power than Rutger Hauer gave him. The major themes are different as well. In the movie, one of the overriding themes is the desire to live, the instinctive need that humans have to keep surviving even for just one more second. It's what keeps Deckard hanging on the edge of the roof when Roy's already broken his fingers. It's what sends Roy to Tyrell's home in the middle of the night with murder on his mind. The replicants in the film, despite being made beings, want what we want: more life. The book follows a different path, though. The book looks at the difference between human and android, the Born and the Made, especially where it comes to that elusive quality of empathy. It is a capacity that only humans are supposed to possess, and indeed there is a whole religion founded around it - Mercerism. By using "Empathy Boxes," a person can become one with the iconic Wilbur Mercer, and share the joys and pains of everyone else connected to him at the same time. Life in all its forms becomes utterly sacred, and the destruction of a living thing is one of the greatest sins one can commit. The androids, on the other hand, know nothing of empathy. They would gladly give up one of their own to die in their place. In one rather vivid scene, the android Pris starts snipping the legs off a spider, an act so monstrous that it drives J.R. Isadore to betray her and the other androids, people he believes are his only friends. The androids can pretend to feel empathy, but a simple test of involuntary physical responses show that they cannot truly feel it. So, in a world where life has been scythed clean, respect for life is the highest virtue. The androids have no respect for life, and must therefore be kept off the planet, eliminated if they set foot on it. But what happens when they get more complex? What happens when the androids are so good, the humans begin to empathize with them? How can you destroy something when you can imagine its pain as your own? And if you can refrain from killing a lowly cockroach because you have empathy for it, how can you then turn around and kill thinking, self-aware android? It's the kind of logical and moral conundrum that Dick excels at. The capacity for empathy cannot be what makes one creature worthy of protection and another not. After all, cockroaches don't feel empathy any more than androids do, yet they would be cherished in this world. It must then be the ability to generate empathy in others that is important, and in this book we see the androids cross that line. Deckard realizes that he's beginning to feel for the things he has to kill, and cannot reconcile that feeling with his job. The theme of Born versus Made is reflected all through the book, especially where animals show up. There are animals that are presented as real, which later turn out to be androids. Others which the characters think are androids, but turn out to be real. Some characters can't even say with certainty whether they are not androids. All throughout the book, people find themselves in the position where they can't tell the difference between biological life and constructed life, which then raises a whole new question - if you can't tell the difference, then is there any difference at all? It's the kind of question best discussed over a cup of coffee at Denny's with your friends in college. Even today, people look down on science fiction as being less substantial than "real" fiction. Stories of androids and bounty hunters and off-world colonies, they think, can't compete with tales of single mothers raising kids in the inner cities or soldiers fighting and dying in a pointless war. To those who think there's nothing to grab on to in science fiction, I submit this book. It'll stay in your head, keep you up at night, and make you ask the kinds of questions that you'll never be able to answer. If that's not quality writing, then I don't know what is. [1:] Well, almost all living things. There's still Ann Coulter.... ...more |
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Jun 25, 2010
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Jun 26, 2010
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0441783589
| 4.01
| 237,813
| Dec 1959
| May 1987
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it was ok
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This book is controversial. Says so right there on the cover - "The Controversial Classic of Military Adventure!" A quick look at its Wikipedia page s
This book is controversial. Says so right there on the cover - "The Controversial Classic of Military Adventure!" A quick look at its Wikipedia page seems to support this, claiming that the book has been criticized for its literary merit, its support of the military, up to and including fascism, racism, utopianism, and gods knows what else. What is certainly true is that it's a book that is guaranteed to make someone, somewhere very angry. In the unspecified future, humanity has taken to the stars. In our efforts to colonize planets that are hospitable to us, we have spread as far and as wide as possible. Unfortunately, this has brought us into direct contact with alien races who are not entirely keen on sharing land with us, and, as we have always done, we are willing to fight, bleed and die for every inch of it. Our main enemy is the Bugs, whose proper name we never actually learn, and they are a vicious enemy indeed. They possess a hive mind, made up of Soldiers, Workers and Brains. The Soldiers are, of course, the most dangerous, not least because they have no individual sense of self-preservation. Unlike the human soldiers, who value their comrades and brothers-in-arms highly, the Bugs will never go back for a fallen comrade and never consider the safety of their own when prosecuting a campaign against the humans. In other words, the Bugs truly are alien to us, and therefore need to be eliminated. The story follows a young man, Juan Rico, in his journey from enlisted grunt in the Mobile Infantry to Officer in the Terran Federation. Through his eyes, we learn about the technological lengths that we have gone to in order to be able to fight the Bugs. First among these is the powered armor that the Mobile Infantry wears - an all-purpose exoskeletal suit that vastly increases its wearer's speed and strength, in addition to providing him with instant contact with his squadmates and vital information that he needs to fight the enemy. Humanity in the future has made great strides in terms of warfare, all out of need to defeat the Bugs. You might be forgiven, then, for thinking that this was a grand military adventure. That we would feel the thrill and terror of a young military recruit as he experiences a universe larger and wilder than he ever could have imagined. You would be wrong. Not entirely wrong, of course. If you read it right, you can infer the newness and strangeness of the circumstances that Juan Rico finds himself in. But this book isn't about Juan Rico, even though he is the narrator. In fact, we don't even learn his proper name until nearly two-thirds of the book is finished. Before then he's just "Johnnie," which is one of the most generic soldier names out there. Juan Rico is so irrelevant to the story that we don't even find out that English isn't his native tongue until three pages before the end of the book. Juan Rico is nothing more than a cipher in this tale, about as important to the content of Starship Troopers as Glaucon is to The Republic. In the classic tale of Socrates, the philosopher talks about justice and politics and society, with his wisdom inspired by a question-and-answer session with his students. Somehow, the students always manage to ask just the right questions to allow Socrates to expound on his theories, and they're usually wrong in just the right ways to make Socrates look smart. So it is with Starship Troopers. Juan Rico is the means by which Robert Heinlein is able to put forth his opinions on war and society, politics, citizenship, crime, child-rearing and, of course, military service. Instead of writing a series of straightforward essays, unfortunately, he decided to make his readers slog through Starship Troopers. This book is a love letter to the military and all it stands for. Not just war and death and destruction, of course, but also loyalty, sacrifice and devotion to duty. It is an examination into why people become soldiers, why some succeed and others fail, and about the historical importance of the soldier class in human history. It's about war as a tool of diplomacy, both in its startling effectiveness and its unfortunate inevitability, as well as the importance of the chain of command and proper military discipline. It's about the comradeship of veterans and the lessons they learn during the service. There's a good reason why this book is on the reading lists for both the Navy and the Marines. What it is not about is any of the characters that are actually involved in the story. The only reason Juan Rico is who he is is because he is not someone else. He could have been Buddy St. Germaine or Phil Waxman or Marvin Crumplebottom and the story would have read exactly the same: son of a rich businessman who enlists in the armed forces just to tweak his father, learns a whole host of Valuable Lessons (tm) and eventually discovers his calling. There is absolutely nothing about Juan Rico than makes him any more interesting than any other character except that he happens to be the narrator of the story. If that were all, I might be able to let this book slide as just thinly-veiled military fetishism. But honestly, there's no veil there at all. The story stops in several places while Heinlein uses his characters as mouthpieces to tell us how he thinks society should be run. Ancillary characters - students, subordinate soldiers - ask just the right questions or are wrong in just the right ways so that Heinlein, much like Plato speaking through Socrates, can make the points he wants to make. Juan's professor, retired Lt. Colonel Dubois, and the other lecturers repeatedly point to the 20th century as a model of how not to govern, happily cherry-picking some of the worst results of our system of government and holding them up as the inevitable result of a society that is not run by veterans. For that is how he sees the best of all possible states - one in which only veterans are full citizens and in which only veterans can run the country. The logic being that only someone who has voluntarily enlisted and served in the military is able to truly put the needs of society before his own, and is therefore the best person to run a country. Heinlein, through his fictional avatars, then goes on to show how much more superior the Terran Federation is to its more democratic predecessors and how stupid we were not to see the obvious truth. The message, then, is that the reader is stupid if he or she does not agree with Heinlein. The ancillary characters who challenge Heinlein's thesis are written as obvious idiots and are roundly insulted and abused by their superiors, which effectively becomes Heinlein abusing his readers. In addition, Heinlein sets up so many straw men to knock down that it gets tiresome. Juan's father, for example, is almost stereotypical as a foil to Dubois. Mr. Rico is rich and aloof and sees the military as nothing more than a bunch of violent thugs who have outlived their usefulness. The first time we see him, he is a snob and a jerk, and Juan's decision to piss him off by joining is almost inevitable. The next time we see Mr. Rico, of course, he has joined the Mobile Infantry himself, and has seen the error of his ways. Other members of the cast are overtly written to embody certain themes in Heinlein's opinion of military rule, both positive and negative. Private Hendrick, for example, is a constant complainer, one who stands up for himself during boot camp and just barely escapes a hanging. He is not disciplined enough to be a soldier, and by extension a citizen, and therefore serves as a warning to others. Sergeant Zim [1:], on the other hand, is the consummate soldier - hard on his charges in boot camp, yet as concerned about them as a father would be to his sons. Zim, along with an array of Lieutenants, Captains and other officers, serve as blatant father-substitutes for Juan Rico, with all of the qualities that one would want in a father and absolutely none of the drawbacks. If anything, their only flaws are that they are too concerned about their soldiers. While reading, I wondered if maybe Heinlein was being sarcastic. If perhaps he was trying to demonstrate the true folly of military fetishism by taking it to its ultimate extreme. I have to admit, I didn't disagree with all of his ideas. His thoughts on juvenile delinquency, for example, really struck a chord in me - he maintains that treating young offenders as rational adults who can learn from their crimes is foolishness since, like puppies, young people are not inherently rational and have not yet learned the difference between right and wrong. The term "juvenile delinquent," he maintains, is an oxymoron, since a juvenile has not yet been able to learn of his duty to others, and therefore cannot be delinquent. To treat him as if he were is to fatally misunderstand human nature. And I think there is a grain of truth to the idea that someone who willingly puts her or his life and body on the line for his or her fellow citizens might indeed have the perspective necessary to govern a country. I would point out, however, that this argument rests on a flawed assumption - that service automatically confers selflessness. There may be correlation, but causation is not yet proven. But I don't think he's being sarcastic. The themes and ideas in this book resonate with those that permeate his other books. What's more, Dubois sounds like Jubal Harshaw, Lazarus Long and Professor De la Paz - other characters from other books who all served as mouthpieces for the author's political and social philosophies. And this is what makes Heinlein's books so special - he is not afraid to stand up for his ideas and put them right there on the page for the reader to see. It is not so much Heinlein's ideas that I object to in this book, even if I do disagree with many of them. It is his presentation of those ideas that bothers me. Flawed logical methods presented as irrefutable discourse, transparent characters with no life beyond their purpose as object lessons, and a dissertation on military supremacy that is just barely disguised as a science fiction novel. It is written from the presumption that the writer is right and the reader is, from the first page, completely and utterly wrong. I think the ideas that Heinlein presents in this book are important, and they are worthy of discussion. I just wish he had held his readers in a little higher esteem when he decided to discuss them. [1:] As a side note, the entire boot camp sequence is much, much more entertaining if you read Sgt. Zim with the voice of Invader Zim. It exponentially improves the book. ...more |
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Mar 16, 2010
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Mar 18, 2010
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0340837942
| 9780340837948
| 0340837942
| 4.15
| 135,206
| Jun 02, 1966
| Mar 14, 2005
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really liked it
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What would you do if you had access to the greatest supercomputer ever built? A computer so complex and intricate that it finally gains full conscious
What would you do if you had access to the greatest supercomputer ever built? A computer so complex and intricate that it finally gains full consciousness - and only you knew about it? Would you use it for your own nefarious purposes and hack your way to riches? Would you try to teach it how to be human? Would you tell it jokes? Or would you use it to start a revolution that frees your people in the Lunar Colonies from the yoke of Terran oppression? Manuel Garcia O'Kelly Davis never really meant for that last one to happen. One of Luna's best computer technicians, Mannie's philosophy was "Keep mouth shut" when it came to matters political, and never considered the political fate of the Moon to be something he needed to worry about. When he attends a meeting of Lunar dissidents, people protesting against the rule of the Earth-based Lunar Authority, he goes more out of curiosity than cause. An attack by Authority troops drives him together with lifelong revolutionary Wyoming Knott and anarchist professor Bernardo de la Paz, and together they hatch a plan to take down the Lunar Authority and make Luna into a sovereign nation above Earth. To do so, they'll need the help of Mike, the world's first - and only - sentient computer. He knows the odds, he can run the scenarios - with Mike on their side, the people of Luna can gain their independence and create a new nation in the grand tradition of old. A friend of mine said that this was the best political science textbook that she'd ever read, and in many respects she's right. This book packs a lot of social philosophy into three hundred pages, and Heinlein requires you to be pretty quick on the uptake. From Manny's clipped way of narrating the story to all the new lingo and concepts that are necessary for Lunar life, the reader needs to pay close attention in order to get the full impact of what's going on in the book. In a way, this book is Heinlein asking the question, "How do new nations begin?" Historically, there are two ways: top-down and bottom-up. In the first case, a person or people of strength brings a group of citizens to become a political entity. In the second, the people themselves rise up to overthrow their former masters. Most revolutions are a mix of the two, really, and Luna's is no exception. The very charismatic Adam Selene (Mike in disguise) and the brilliant Professor manage to bring the people of Luna together in order to rid themselves of the Lunar Authority. What makes it very interesting is that the book is pretty much a how-to book on insurgency and revolution. They work out an improvement on the traditional cell system of a conspiracy, and how to make it as stable and secret as possible, while still maintaining reliable communications. They figure out how to involve people in the revolution indirectly, harnessing the energies of everyone from children to old people. Working against a better-armed and more powerful enemy, Luna's revolution is a textbook model of how to overthrow your oppressors and gain your freedom. Of course, once you have your freedom, then what do you do with it? How do you run your new country, and how do you make sure that your freedom can be maintained? How do you build a government and write a constitution and establish trade and do all the other little things that have to happen if you want a country all your own? What's more, Heinlein puts forth a new society that is radically different from the ones we know now, and by necessity. With drastically different demographics and gravity, life on Luna cannot follow the same rules as life on Earth. This new life includes a near reverence for women, marriages that span not only multiple partners but multiple generations, and a spirit of individualism that would make the most grizzled pioneer proud. Life on the moon, as the title implies, is not easy. Many of those who come to Luna do not survive. Those who do, however, become the backbone of a new nation that will one day be the crossroads of the solar system. It's a dense read, but fun, once you get used to the narrator's mode of speech. Manny often leaves off pronouns and articles, making him sound very choppy and direct. And a lot of it is done in speeches and Socratic dialogs between the Prof and whomever is unlucky enough to get in his way. I'd say that the greater part of this book is discussion of how to have a revolution from the point of view of the moon, and a look at how Heinlein thinks a society should be ordered. Other than being very narrative-heavy, which modern readers might find somewhat tiring, there is one point about the book that didn't sit right with me. It didn't ruin the book, necessarily, but it put a big asterisk next to everything that Heinlein was trying to say. That asterisk is Mike. Mike is a truly marvelous AI. He is not only self-aware and blessed with a rather rudimentary sense of humor, but he is tied into all of Luna's main systems. His processing speed and memory are exceptional, and while he doesn't really care one way or the other about rebelling against his owners, he does think that organizing a rebellion might be an entertaining diversion. He's a good character, really, but he is entirely too powerful. All of the problems that traditionally plague conspiracies, undergrounds and rebellions are solved by Mike. He knows the probabilities of success and can run thousands of scenarios in a moment. He is able to set up a moon-wide communications system that is completely secure. He can tap into the Lunar Authority's database while at the same time keeping the Rebellion's data secret. What's more, he can be trusted to know everything about everyone in the group - he cannot be bribed or drugged or forced to name names under interrogation. He can organize the bombardment of Earth with pinpoint accuracy, bring down attacking ships and organize attacks all over the moon. With Mike at their side, the rebels couldn't help but win, and I found that a kind of hollow victory, in a narrative sense. I kept waiting for Mike to be compromised - his power disconnected or his actual intelligence uncovered - or for him to change his mind about helping the rebels. One way or another, I wanted the rebels to win Luna without the help of their omniscient computer conspirator. As it is, Mike pretty much delivers the Moon to its people, and then vanishes without a trace. That's not to say that the human element isn't necessary - even Mike couldn't have won independence without them - I would rather have seen a wholly human revolution. Other than that, though, it was a very good read, and it's a book that ties into a lot of Heinlein's other works. Many concepts that are key to Heinlein's vision of the world are in this book - the freedom of the individual to direct his or her own life, the benefits of polygamy over monogamy, and of course the notion of TANSTAAFL - "There Ain't No Such Thing As A Free Lunch" - which is arguably one of the governing principles of the universe. In this book, Heinlein asks the reader to do more than just enjoy a good story - he demands that the reader think about the message as well. And that's what makes Heinlein one of the greats. If you're looking for some essential science fiction and you like your politics rough-and-tumble, check this book out. ...more |
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|
||
|---|---|---|---|---|---|---|---|---|---|
3.61
|
liked it
|
Aug 14, 2012
|
Aug 14, 2012
|
||||||
3.57
|
liked it
|
Aug 2012
|
Aug 13, 2012
|
||||||
3.78
|
liked it
|
Jul 09, 2012
|
Jul 09, 2012
|
||||||
3.99
|
really liked it
|
Jul 2012
|
Jul 06, 2012
|
||||||
3.86
|
really liked it
|
Jun 20, 2012
|
Jun 22, 2012
|
||||||
4.32
|
it was amazing
|
Feb 2012
|
Mar 27, 2012
|
||||||
4.10
|
it was amazing
|
Jul 20, 2011
|
Jul 23, 2011
|
||||||
4.14
|
it was amazing
|
Jun 22, 2011
|
Jun 25, 2011
|
||||||
3.67
|
liked it
|
Jan 27, 2011
|
Feb 10, 2011
|
||||||
4.10
|
really liked it
|
Nov 22, 2010
|
Dec 19, 2010
|
||||||
3.77
|
liked it
|
Nov 25, 2010
|
Dec 19, 2010
|
||||||
3.63
|
liked it
|
Dec 19, 2010
|
Dec 19, 2010
|
||||||
3.93
|
it was amazing
|
Nov 27, 2010
|
Nov 27, 2010
|
||||||
4.31
|
it was amazing
|
Oct 20, 2010
|
Nov 22, 2010
|
||||||
3.67
|
did not like it
|
Oct 11, 2010
|
Nov 06, 2010
|
||||||
4.13
|
really liked it
|
Jul 21, 2010
|
Jul 23, 2010
|
||||||
3.93
|
it was amazing
|
Jul 08, 2010
|
Jul 11, 2010
|
||||||
4.09
|
it was amazing
|
Jun 25, 2010
|
Jun 26, 2010
|
||||||
4.01
|
it was ok
|
Mar 16, 2010
|
Mar 18, 2010
|
||||||
4.15
|
really liked it
|
Mar 2010
|
Mar 04, 2010
|