→ September 8, 2015
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Red Mars.

I have a scouting blog up with notes from three games I saw last week, covering Jeff Hoffman, Gleyber Torres, Matt Strahm, Spencer Adams, and Brad Markey.

Kim Stanley Robinson’s Mars Trilogy won a Nebula Award for the first book (Red Mars), Hugo Awards for the second (Green Mars) and third (Blue Mars), and Locus Awards for the second and third, as well as a passel of other awards and nominations. I just finished Red Mars, the dense 570-page opener, on Friday, and I can’t fathom why it won the Nebula or has spawned a cult following that appears to be leading toward a scripted series on Spike TV.

The Mars trilogy covers the first human attempt to colonize Mars, with a mission leaving Earth in 2026 (heh) with 100 colonizers chosen largely for their scientific and engineering skills. The goal is merely to establish a permanent settlement that may open the door for further research and potential economic activity like heavy-metal mining, but as conditions on Earth deteriorate due to war, pollution, and overpopulation, emigration to Mars becomes a reality and accelerates beyond the point that the red planet can handle it – especially since Mars is freezing and its thin atmosphere comprises mostly carbon dioxide. This in turn exacerbates the initial philosophical divide among the “first hundred” of whether humans should attempt to terraform Mars and make it suitable for long-term human settlement, or if humans have any responsibility to maintain the planet’s environment and, if present, any ecosystem that might exist at a microscopic level.

Red Mars is hard science fiction, very heavy on the technical aspects of its subject, with painstaking attempts to keep it as scientifically accurate as it can be. That means the book is about as dry as the Martian equator, as Robinson devotes paragraphs and even pages to details that contribute nothing to the plot and only serve to show that the author has indeed done his research. I can understand the desire to convince the reader that something like the space elevator transportation system is feasible, for example, but the point of including it in a work of fiction should be to show its effect on the characters within the story, not merely to say, “hey, cool, a space elevator!”

Robinson seems so caught up in demonstrating the technologies required for the mission and his mastery of their specifics that he spends very little time developing the book’s central characters, roughly a dozen of the first hundred who play significant roles in the novel’s multistranded story arc. Two of the most significant ones are dead before the book even ends, as are a few characters of less importance, and while many dramatic works benefit from the uncertainty around characters’ fates, Red Mars isn’t one of them. There’s no sense of impending jeopardy to raise tensions, and when the novel ends with a lengthy journey where several of the first hundred escape from Terran forces, I never doubted that they’d succeed in reaching their destination. And, most damning of all, I didn’t really care if they didn’t, so long as Robinson didn’t bore me to death first with details of how their little rovers worked or more about that bizarre flood that, even with all his descriptive text, I still could not for the life of me manage to picture in my head.

So my question to those of you who’ve braved this series is whether it’s worth it to continue, as I’ve been reading past Hugo winners, which would include both of the next two books in the series. My instinct is no, that the issue was Robinson’s writing style, and that seems unlikely to improve from book to book, at least not enough for me to plod through another 1200 pages.

Next up: I just finished A Bell for Adano, a wonderful satirical war novel by John Hersey (author of the famed New Yorker piece Hiroshima) and have begun Philip K. Dick’s A Scanner Darkly.

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→ August 9, 2015
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In the Land of Invented Languages.

Arika Okrent explores the strange history of artificial languages – Esperanto, Klingon, and other doomed projects to create a “universal” or other constructed language for people to ignore – in her lively 2014 book In the Land of Invented Languages: Adventures in Linguistic Creativity, Madness, and Genius, taking a surprisingly neutral view of the topic that dances around one very obvious truth: These people are weirdos. Some are just eccentric, while others are batshit insane, but the one thing they all have in common is the delusion that any of this is a good idea.

That makes the subject even more interesting, and Okrent, a trained linguist who happens to be the niece of Nine Innings author and original rotisserie league player Dan Okrent, surveys the field by examining the stories of five of the most significant “conlangs” in history: the Philosophical Language of John Wilkins, Esperanto, Loglan (and its offshoot Lojban), Blissymbols, and Klingon. No one here comes off particularly well, although Esperanto creator L.L. Zamenhof doesn’t fare that poorly. Loglan ended up the subject of a lawsuit over who “owned” the language, while the inventor of Blissymbols exhibited symptoms of bipolar disorder, and the folks who learn Klingon … well, that’s its own kind of insanity, given that the language’s designer deliberately made it difficult to learn and pronounce.

One of the most interesting aspects of Okrent’s book is how it sheds light on the evolution of natural languages and why “intelligent design” makes no more sense in linguistics than it does in evolution. Multiple efforts to craft artificial languages have failed for consistent reasons: Either the creator tries so hard to make the language cover everything that it becomes unusable, or the creator fights the natural process of change that accompanies any language when even a small community begins to use it. (Esperanto, the closest thing the conlang world has to a success story, has seen evolutionary changes in the language over its century-plus of existence, such as the decline in use of the -n to mark a noun in the accusative case.) There’s a third obstacle, in my opinion, which is that almost every conlang seems to fall in love with accent marks, such as the are-you-shitting-me P@x’áãokxáã language … which is only an extreme case, as conlangers abuse the umlaut more than bad metal bands, and the orthographical nightmares are compounded by overuse of q, x, and z, often adjacent to each other.

Okrent’s own hypothesis on why artificial languages fail seems to consider the inextricable link between language and culture, something she explores in a few chapters that discuss the Sapir-Whorf hypothesis, leading into the section on “Loglan,” a logical language that James Cooke Brown (inventor of the boardgame Careers) created to test that hypothesis in a laboratory setting … but that was or turned into a massive ego project for him, spurring a lengthy battle between him and the small number of people who bothered to learn this thing, causing the latter group to split off and create the language Lojban. If this sounds like a couple of kids fighting over corners of the same sandbox, you have the right idea. But in Okrent’s view, the fascination these strange little subcultures hold doesn’t supersede the fundamental problems that any fake language will have taking hold – the lack of any cultural connection or foundation to tie people to the language and the language to their everyday lives and needs. The work involved doesn’t help either, especially since many of these languages forsake accessibility for “completeness,” but we have seen natural languages take hold in non-native places for cultural or business reasons. We don’t need an artificial universal language because we have English, which has supplanted French (the previous “universal” language) in international business and diplomacy and has been spread globally by the United States’ entertainment industry.

Okrent has many interesting tangents in the book beyond the chapters on crazy Charles Bliss (who sued the school for disabled children that adopted his language of symbols, extorting $160,000 from them to make him go away) or the social outcasts who attend Klingon language conferences. She gives the most concise explanation I’ve ever seen for why irregular grammatical forms persist in modern languages (it’s another evolutionary explanation), describes another failed Sapir-Whorf experiment built around a feminist conlang called Láadan (again with the accent marks), and discusses how the Lord of the Rings trilogy came out of J.R.R. Tolkien’s own language-invention efforts, one that involved building not just a single language but a whole taxonomy of them that led to the elves of Middle Earth. Tolkien, at least, comes off better than most of the nuts who populate the book, idealists, dreamers, egotists, and just plain old oddballs who ignore the history of well over 500 attempts to build an artificial language that people will actually use with a grand total of zero true success stories in the list. Speaking as someone who’s found lots of ways to waste his own time on frivolous pursuits, the invention or study of a fake language strikes me as even more wasteful and frivolous than most.

Next up: Steven Millhauser’s Martin Dressler: The Tale of an American Dreamer, winner of the Pulitzer Prize for Fiction in 1997.

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→ July 13, 2015
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Ringworld.

My Futures Game recap is up for Insiders.

I read six books on my vacation – fortunately, my wife and I both subscribe to John Waters’ philosophy on lovers and books – including four of my favorite authors/series (Poirot, Nero Wolfe, Flavia de Luce, and a standalone P.G. Wodehouse novel), as well as two new authors, including Larry Niven’s Hugo and Nebula Award-winning novel Ringworld. Like Arthur Clarke’s similarly-acclaimed Rendezvous with Rama, Ringworld is a work of hard science fiction, in this case playing off a popular concept in physics and speculative science (the Dyson Sphere) and turning it into a lengthy adventure story involving the discovery of a distant world. It’s also surprisingly dull for a story that has as much action as Ringworld does, perhaps because most of the plot elements are so hackneyed.

Set in a distant future where man has explored a wider corner of the galaxy, encountering at least three alien races, the story has four explorers setting off on a mission to reach the structure of the story’s title, an artificial planet of sorts shaped like a ring around a distant sun. The crew is assembled by a two-headed creature called a puppeteer, who has deliberately selected three specific members – two humans, and one giant feline creature called a kzinti – for this mission, itself a response to the discovery that the Milky Way’s core is going to break down in a massive chain reaction in about 20,000 years. The puppeteers have already begun a massive migration, but it becomes clear that they want to see if copying Ringworld would accommodate them in another system.

Niven has explicitly said that he modeled the world after the Dyson Sphere, a hypothetical structure built around a star capable of capturing all of that star’s energy to supply the needs of the species that built it. Dyson recognized that per capita energy usage rises as a civilization becomes more technologically advanced – how many devices are you charging at the moment? – and conceived this structure as a totally crazy, speculative solution as well as a theoretical maximum on the energy available to that civilization, given that solar energy would dwarf any energy from nonrenewable sources. Niven has the unfortunate tendency to give the reader too much of the physics, generally in awkward dialogue between these impossibly-educated crew members, which doesn’t do much to help keep the story moving. Where Niven has to deviate from known or even hypothetical physics – the familiar “hyperdrive” of most science fiction gets stretched even further than normal – he spares us the details, which works much better because you’re only reading this book if you’re already willing to suspend your disbelief in things like travel at or faster than the speed of light. (Niven actually has an amusing bit of handwaving about this that I won’t spoil.)

Science fiction that relies this heavily on the science portion for seizing and maintaining reader interest worked for me when I was a teenager, but now it leaves me cold; I want fiction that tells me a story, preferably one that examines some fundamental aspects of human nature. (Granted, that’s tricky with a kzinti who might eat his shipmates or a puppeteer who rolls into a ball when scared as part of the crew.) Niven could have used his plot device as a way to consider the eventuality that we will fill the planet, or reach a point where we can’t increase our per capita energy consumption, but he blows right past that to get his quartet on Ringworld, where they find … well, not very much. And what they find is bizarre, often inexplicable, and impossible to picture with Niven’s rather stolid prose.

Ringworld isn’t a slow or arduous read, however – the writing isn’t complex, the sentences are pretty short, and most chapters function as self-contained stories. It may have been more praiseworthy in its day, but given some of the recent Hugo winners that have put storycraft over the sci-fi or fantasy elements, it feels very dated.

Next up: I just finished Dodie Smith’s I Capture the Castle and started Michael Cunningham’s Pulitzer Prize-winning novel The Hours on the flight back from Humid City this morning.

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→ June 14, 2015
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The Graveyard Book.

Neil Gaiman won his first Hugo Award for Best Novel for his modern epic American Gods, a masterful blend of pagan mythology and magical realism that breathes some life into the generally-overused Chosen One plot structure, thanks in large part to Gaiman’s prodigious imagination. After withdrawing the related book Anansi Boys from consideration for the same honor in 2006, he won the prize a second time for his young adult novel The Graveyard Book, which brings his same charming prose style and clever world-building mind to a gentler story without most of the violence or sex that populate those two earlier works.

There’s an exception to that last bit, and it’s at the start of the book, perhaps the most overused trope in all of young-adult literature (and not a few Disney movies): The orphaned child protagonist. The toddler to soon be known as Nobody “Bod” Owens wakes in a house where his parents and sister have just been knifed to death in their sleep, escaping only due to happenstance and his own wanderlust, ending up in the local disused graveyard where the deceased denizens protect him from the killer. Bod grows up in the graveyard, raised by the Owens (dead for a few hundred years), watched by the not-quite-dead guardian Silas, forbidden to leave the cemetery grounds for fear it will expose him to his would-be murderer, Jack.

Of course, you know the story has to end with Bod facing Jack one final time, and since this is a children’s book, Bod’s going to come out all right, so the onus is on Gaiman to create tension within each of the episodes leading up to the 80-page chapter where the final confrontation occurs. Gaiman infuses Bod with the curiosity of most children, only partly sated by the attempts of the graveyard’s dwellers to educate him, leading him to various excursions outside of and underneath the cemetery itself, setting up the series of events or points of interest that will all come into play in the last battle.

The core story is straightforward, as you’d expect in a self-contained, 300-page young adult novel, but Gaiman has populated his necropolis with a small cast of eccentrics – I suppose expecting the shades to be simply drawn was unreasonable – that bring to mind everyone from Robert Altman to Jasper Fforde. They’re not weirdos, just dead and a little outdated, and have much to teach Bod (and the young reader) about the value of life and living it with just as much (or little) fear as is necessary.

But the book is just as much for the parent reading with or alongside the child; this is very much a book about rearing a son or daughter and learning to let go the older the child gets. Bod’s search for independence and agency is far from unusual; all things considered, he’s a rather compliant child, curious but only occasionally reckless, bailed out a couple of times by Silas or one of the other spirits who’ve been raising him. He touches something hot (metaphorically speaking), gets burned, and learns not to do it again; no matter how many times you say “don’t touch that,” you know the child won’t really believe you until s/he tests your admonition out in the flesh. And when Bod has to fight the final battle without Silas’ protecting, albeit with lots of help from his noncorporeal family, he comes of age right before us in a satisfying but far from entirely happy ending.

My daughter just turned nine, but I think the traumatic introduction where Bod’s family is killed offscreen might upset her a little too much; she was fine with Lily and James Potter dying, but that occurred before page 1 and it’s a lot less real to read of someone dying via spell than dying via blade. I’ll keep the book and leave it to her own judgment to decide when she wants to tackle it.

Next up: Flann O’Brien’s The Third Policeman.

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→ February 17, 2015
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Ancillary Justice.

My latest boardgame review for Paste magazine covers the 2014 engine-building game Evolution.

Ann Leckie’s debut novel Ancillary Justice (Imperial Radch) ran the table of major sci-fi awards, winning the Hugo, Nebula, and Clarke Awards for Best Novel (among other prizes) in 2014 and spawning two upcoming sequels to complete the “space opera” trilogy. Leckie devised a clever twist to give Ancillary Justice a different flavor from any novel I’ve seen before, but that didn’t infuse the story with the narrative greed I’d expect from an award-winning science-fiction book.

The protagonist of Ancillary Justice is an “ancillary,” a human body with an AI cognitive function, one recently separated from the ship that previously ruled its actions. In the world Leckie has created, spaceships run on powerful, all-seeing systems with their own artificial intelligences, and they extend their reach and powers via ancillaries – various prisoners who’ve been placed in cryogenic suspension, reanimated, and fitted with various technical implants, from armor to the system that connects them to the ship’s central nervous system. That means that each ancillary functions as a small part of a larger whole – Breq, the protagonist, can recall seeing with dozens of pairs of eyes when she was still part of the ship Justice of Toren. These ships and ancillaries are all under the command of the Radch, a mysterious authority that rules a large swath of its galaxy, adding to its dominion via ruthless “annexations” that tend to involve a lot of killing of innocents.

Breq’s ship is gone, described in one of the book’s many flashbacks, essential to understanding why Breq is trying to obtain a rare weapon and go kill one of the many bodies of the Radch’s monarch, Anaander Mianaai, even though such a move won’t actually destroy the ruler herself. The novel itself begins with a long tangent where Breq, arriving on the snowbound planet of Hilt (why is there always a frigid, snow-covered planet in these books?), comes across a dying woman named Seivarden lying face-down in the snow. Recognizing the former lieutenant, Breq chooses to save the woman’s life, further complicating her own mission yet giving Leckie more room to explain the Radch’s history.

That lengthy introductory section lasts maybe a third of the book, and while there may be a payoff later in the trilogy, it contributed to the novel’s lack of plot interest. I understood why Breq wants to kill one of the many Anaander Mianaais running around the galaxy; I just couldn’t bring myself to care all that much, at least not to the point where I was reading because I wanted to know what happened next. The plot is antiseptic, fully functional yet without color or emotion – befitting a story that is ultimately about a battle between artificial intelligences, I suppose.

Leckie’s use of an atypical protagonist likely contributed to the slew of awards she won for Ancillary Justice, and it allowed her to touch on a pair of themes that resonate quite strongly today, perhaps also boosting her stock with judges. One such theme is the question of privacy in an increasingly wired, digital era. Every ship and space station is “alive” via AI, and sees and knows everything that’s going on within, to the point of monitoring individuals’ heart rates and facial expressions, analyzing them for potential threats. The Radch continues to annex more territories, giving the targets no choice in the matter, forcing them to cede their land and any individual freedom they may have had prior to the Radch’s arrival.

Leckie also explores the question, although I suppose it’s settled within the novel, of how much control we’re willing to surrender to our computers. AIs rule every ship, station, or planet we encounter in the book, and there’s very little thought given to whether this is optimal because it’s been that way for at least a thousand years. The Radch is ruled according to a quasi-mystical (rather Confucian) set of principles, including Justice, that considers the Greater Good without giving any visible weight to the individual. On the one hand, that means personal freedom gets trampled by the Radch whenever there’s a conflict. On the other hand, I’m pretty sure everyone in the Radchaai empire is vaccinated.

Leckie gets too cute by half with her forays into language and the Sapir-Whorf Hypothesis, never committing to it enough for a real exploration of its relevance, choosing instead to toy with questions of gender or Arabic/Korean-style questions of declensions that vary based on the level of respect due to whoever you’re talking to. It reads like an idea she had early in the novel’s development, then gradually abandoned as she became more enmeshed in the broader AI-focused plot.

Ancillary Justice reads more like a novel you’d analyze and discuss than one you might read for pleasure. The lack of any emotional connection between the reader and Breq, or even to the specific incident that triggered her rebellion against Anaander Mianaai, makes it a desultory read, failing to generate enough interest in getting to the book’s conclusion – a strong one, easily the book’s best segment, but not enough to make up for what came before. If you’re more invested in the backstory of why Breq ended up severed from her ship, and why she’s engaging on a seemingly futile one-ancillary mutiny against a ruler who can’t be killed – and as I type that I think that sounds like a pretty good story – you’ll likely enjoy the book more than I did.

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→ February 13, 2015
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The Handmaid’s Tale.

My draft blog post on Jacob Nix’s pitching and Dillon Tate’s role is up for Insiders.

Margaret Atwood’s award-winning dystopian novel The Handmaid’s Tale had been on my radar for years, both as a book recommended by others and something I knew I should read given its genre and critical acclaim. It is a remarkable, harrowing, often infuriating novel of a very specific type of dystopian society, one that goes beyond mere questions of personal freedom to probe issues of gender roles and identities, as well as the difficulty of regaining any sort of agency under severe repression designed to strip subjects of that very power.

In The Handmaid’s Tale, the United States has fallen somewhere in the late 1980s, replaced in a violent coup by a fundamentalist Christian state, one that imposes strict Biblical prohibitions on nearly all areas of life. Women are now second-class citizens by statute, deprived of the ability to work, to drive, to assemble, to read, even to think for themselves. Decisions about their reproductive lives are made largely by the state, which is entirely dominated by older white men. Think modern-day Saudi Arabia. Or Texas.

The narrator, known simply by her assigned name of Offred, is a handmaid, a role of a highly specific form of sexual slavery. Handmaids are assigned to older men in powerful positions whose wives, due to age or other conditions, can no longer bear children. Their role is to try to bear their masters – Atwood doesn’t use that term, but I don’t see a better one – a child, after weaning which they’ll be assigned to a new house and a new master, while the child will be reared by the master and his capital-W Wife. Women who refuse to subject to this new order are sent to the Colonies, an unspecified location where they engage in manual labor from farmwork to cleaning up environmental disasters, or are simply disappeared.

Offred’s story is made all the more uncomfortable because she’s one of the first generation of Handmaids, and was ripped out of her old life where she was married with a young daughter, both of whom are now gone – to where exactly I won’t say to avoid spoiling it, but there’s nothing comforting about any of it. The idea of a regime so repressive that it would break up families for religious/political reasons seems so far-fetched, and yet we still have elements in this country fighting federal orders that should force them to recognize same-sex marriages. (Atwood, herself an ardent humanist, places surprisingly little blame here at the feet of the unspecified sect in charge of the new nation, apparently called Gilead, instead showing the religion as the tool of the oppressors.) When Offred’s master, called the Commander, tries to initiate a relationship with her that’s more than their perfunctory monthly Ceremony of sex – one so bizarre the reader can only wonder how Atwood came up with it – it begins the unraveling of Offred’s little world, one that replaced happiness with a modicum of stability, bringing back actual emotions beyond her regular state of depression and thoughts of suicide.

While The Handmaid’s Tale has a superficial purpose as a warning to all of us about how easily a repressive element like this might take over a previously peaceful, democratic society, or simply to caution us that such groups always exist at the fringes and will try to pounce on any opening they might see to exert their will on others, Atwood’s primary purpose seems to be explore the plight of a woman in a hopeless condition of subjugation. Can such a subject find any reason for hope beyond impossible dreams of a reunion with her family (where there’s life, there’s hope)? How can she claim some sort of agency – here, a capacity to form a desire for action, then to act upon it of her own will – within the confines of a societal structure that deprives her of everything right down to her identity, reducing her to a mere vessel for the propagation of the species? When she even has limited ability to choose whether to live or die, can such a woman find any form of freedom, and are such forms – like illicit sex – worth pursuing simply because they represent a rebellion against oppression? Offred learns of other handmaids who’ve taken their own lives, an expression of their limited agency, and ultimately encounters other “fallen” women who’ve taken to using sex for the same purpose.

Where Atwood might have gone further is in exploring the reasons why victims of such repressive regimes are not more willing to resist. In her alternate history, many women are willing participants in the scheme that subjugates their compatriots, becoming instructor-disciplinarians in reeducation centers set up to turn formerly independent women into Handmaids, or snitching on subversive or illegal activities to try to curry small, temporary favor with their overlords. There is a resistance movement, but it appears to be small and weak, and the idea that women, who constitute just over half the population, would be demoted to the status of mere chattel without more of a fight seemed unlikely to me. Atwood does give us a secondary character, Janine, who seems to embody Shakespeare’s frailty-of-woman, with her excessive emotional displays and subservience to any authority, male or female, that seeks dominion over her. Janine’s character is alternately pitied and despised by Offred and the other Handmaids, but their tacit acceptance of their fate is no different than her explicit version.

Discussing the issue of non-resistance – which is a major philosophical question that arises when we examine real autocratic regimes, notably the Third Reich – further might have led Atwood into the trap that far too many science- or speculative-fiction novels fall, providing excessive detail about the world and its inception, which ruined both Rainbows End and The Diamond Age for me. I’m glad she provided less detail here rather than more if the cost was giving us a lengthy exposition on, say, the power structure of Gilead. It wasn’t until near the end of the book that it became clear that the former university converted for the use of the government’s secret police and for events like the “Salvaging” was actually Harvard, more evidence of Atwood’s willingness to forego irrelevant details to focus on the plot and her themes.

There is another dimension to this book that will always be beyond me, as a man, because I’ve experienced none of the discrimination or even condescension that women face in what is still a patriarchal society; as a white, straight male, I don’t even have a good analogue on which I can draw. The horror of having her daughter taken from her and given to another childless family is always present with Offred, and that was the point with which I had the hardest time because it was the one aspect of her de facto captivity that I could imagine. Nothing else would drive me to madness so quickly.

Next up: Ann Leckie’s debut novel Ancillary Justice, winner of the 2014 Hugo, Nebula, Clarke, and Locus Awards.

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→ February 10, 2015
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The Diamond Age.

Neal Stephenson won the Hugo and Locus awards in 1996 for his novel The Diamond Age: Or, a Young Lady’s Illustrated Primer, a postcyberpunk bildungsroman that can’t survive under the weight of its own self-importance. While Stephenson managed to create a credible Gibsonian universe in his earlier hit, Snow Crash, here his worldbuilding detracts from the story about the titular book that might be able to reprogram the future of humanity, and his hifalutin language doesn’t meld well with the story’s focus on a child protagonist.

The “primer” of the book’s title is a “ractive” book (short for “interactive” … I’m not a fan of this kind of conlang/argot shit, which ends up little more than an annoying distraction), designed by the engineer John Hackworth for Lord Gussie Fink-Nottle (close enough) using nanotechnology and I think what we’d now call a 3-D printer, designed to raise a young girl – the Lord’s granddaughter, and, via a pirated copy, Hackworth’s daughter – to be a hypereducated, worldly, creative young adult. The copy intended for Fiona Hackworth ends up in the hands of an impoverished, abused girl named Nell, brought to her by her scapegrace brother, Harv, setting in motion a great and possibly unintended sociological experiment pitting nature against nurture – not a mother’s nurture, but a surrogate in the form of the actress, Miranda, who performs nearly all of the “ractive” functions in the Primer for Nell.

The Primer itself is a Choose-Your-Own-Adventure hepped up on nanotech; in fact, Stephenson’s whole universe here revolves around nanotechnology, where static objects can be built in Matter Compilers, and nanosites – microscopic entities designed to perform specific functions in the air or within someone’s body – abound, including security infrastructures that must have the NSA seething with envy. (The book’s very title was coined by cryptography pioneer and nanotechnology researcher Ralph Merkle, whose great-uncle made a certain boner with which you, being a visitor to this particular blog, are likely familiar.) Stephenson’s vision of an age of nanotechnology, combined with a dark post-nationalistic viewpoint where communities are organized in “phyles” that called to mind the guilds of early RPGs, is so overly and unnecessarily complex that it overwhelmed the core storyline of Nell’s education and maturation through her experiences with the Primer. The “Drummers” hive-mind phyle is one of the novel’s bigger messes, ambiguously-described yet central to the operation of the Primers and, ultimately, to the resolution of the plot.

My other, secondary problem with The Diamond Age was the absurd vocabulary Stephenson used in it – perhaps a nod to its underpinnings in Victorian literature, but coming off as stilted and sometimes inappropriate to the characters in question. Nell is only about eleven or twelve years old when she has this thought:

It was just that the story was anfractuous; it developed more ramifications the more closely she read it.

Now, maybe all of you knew the word “anfractuous” from childhood, but I only encountered it sometime in the last two years, somewhere in The Recognitions or Gravity’s Rainbow or some classic from the 1800s that routinely sent me to the dictionary. It’s a valid English word, actually a pretty useful one, but you’re never going to hear that or “ramifications” in the internal monologue of a preteen. Stephenson’s either showing off or incapable of capturing the vernacular of someone that age – and the whole book is full of maddening word choices like these.

The shame of this incoherence is that Stephenson buried what might have been a remarkable novel of ideas, one that merely uses the platform of his nanotech universe to explore the roles of community, government, family, education, and religion in a world where we’re that much closer to the singularity. Even one of those topics would make the foundation for a good novel, although I can’t blame Stephenson – who’s not afraid to be prolix in his prose – for aiming high. Unfortunately, the resolution of the story is so muddled, both in plot and in philosophy, that by the end of the book it wasn’t even clear how we’d gotten there, much less whether there was a point to any of this.

Next up: As I mentioned on Twitter, I’m tackling Margaret Atwood’s The Handmaid’s Tale, and it is indeed an excruciating read.

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→ February 4, 2015
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Rendezvous with Rama.

A brief Insider piece where I rank the top ten prospects by position went up this afternoon.

I’m gradually working my way through the list of winners of the Hugo Award for Best Novel, mostly concentrating on recent winners, but jumping back for a few of the classics I missed when I went through a heavy sci-fi phase as a teenager. Arthur Clarke’s Rendezvous with Rama won the Hugo in 1974 (and the Nebula and a bunch of other significant awards in the genre) and remains highly-regarded four decades later, even though it’s extremely light on conventional plot elements, focusing instead on hard science and some philosophical questions around what an encounter with a superior alien intelligence might entail.

Rama itself is a giant alien vessel that enters our solar system on a parabolic trip around our sun in the year 2131, by which point humanity has colonized several other planets and bodies in the system (including, bizarrely, Mercury and the Neptunian moon Triton), and has also set up an early-warning system to detect possible threats to earth after a meteorite fell on northern Italy in 2077. This system identifies Rama first as a fast-moving asteroid or meteorite, but when it comes closer it becomes apparent that it’s some sort of extraterrestrial ship or device, larger than many asteroids, a giant cylinder spinning at a rate impossible for a natural object. The confederation of planets sets up a manned mission to Rama to explore it, assuming the world itself is dead, which sets up the bulk of the book as a description of what the mission finds once they reach Rama and make their way inside of it.

Clarke’s interests here seem to split into two areas – the internal construction of Rama as a self-sufficient entity with a sort of artificial intelligence powering it (Rama has been in transit for so long that no purely biological life remains, if it ever existed), and some of the moral and ethical dilemmas around the exploration of the world. Since its creators are not present, and could not have left any explanation of their intentions, how would the explorers balance scientific inquiry with the moral imperative to do minimal harm? At one point, the Mercury colonists (“Hermians”) – and let’s not even get started on the absurdity of that – decide to set up a preemptive strike, even though there’s no clear sign that Rama has been sent to attack anything in our system; again, where is the inflection point beyond which the proper response is self-defense?

Because Clarke moves everything so quickly, and sets up just the briefest tensions, there isn’t much discussion or even time for thought about these issues – he’s sort of throwing the questions out there for the reader, then moving on to whatever’s next. I’m not suggesting he had to go Full Tolstoy and give us 80 pages on the morality of space exploration, but a novel that wants to confront these philosophical questions probably should have a little more internal debate among the characters than Rama did. Clarke tries to include this by jumping from the actions of the crew on Rama to the conferences among the various emissaries from the various colonies across the solar system, but these focus as much on problem-solving as on ethical concerns.

I’ve read in a few places, including (but not limited to) Wikipedia, that filming Rendezvous with Rama is a longtime goal of Morgan Freeman, but I can’t imagine this book as a successful film without major script changes. There are no aliens, so there’s no antagonist. The explorers fight a little bit against time, a little against the “elements” within Rama (which is essentially a world turned inside out), but the standard sources of tension are simply absent here. Clarke creates narrative greed only by keeping the chapters short and the action quick, but once it becomes clear he’s not going to kill off a large section of the crew, we’re just watching the explorers peel back layers of the onion and racing a little bit against the clock. The purpose of Rama itself doesn’t become clear until near the very end of the novel, and the crew has little or nothing to do with the revelation. It would likely be a spectacular film visually, but it needs a stronger plot to be a commercial success, and I’m not sure that could happen without throwing the science out the window.

Next up: Another Hugo winner, Neal Stephenson’s The Diamond Age: Or, a Young Lady’s Illustrated Primer.

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→ January 30, 2015
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Rainbows End.

I’ve written an organization report for each MLB team, including a list of that team’s top ten prospects; you can find them on the full index of all thirty clubs. The Rays’ piece is free; the rest are Insider.

Vernor Vinge’s Rainbows End won the 2007 Hugo Award for Best Novel, beating out four books I don’t know by authors I’d never heard of (although one of them, Peter Watts’ Blindsight, also received high critical praise). In a world ripped straight out of the fiction of William Gibson, a plot to undermine humanity in the name of saving it ends up foiled by an 11-year-old girl and a virtual entity known only as the Rabbit. It’s a book so in love with its setting that the plot is unfortunately drowned in a sea of irrelevant details.

In 2025, everything and everyone is connected, constantly online and accessible via wearable technology, coding via hand gestures, with their movements and actions easily tracked by the government (okay, that last part might be closer to truth than I’d like to admit). A global intelligence investigation has uncovered a plot to make humans more suggestible via coded transmissions within ordinary broadcasts like commercials – a sort of ‘mind virus’ – that was in fact developed by one of the people supposed to be leading the investigation. He hires the Rabbit to unwittingly help him retrieve the technology before it’s discovered, only to find the Rabbit is more feline than leporine when it comes to curiosity and doesn’t stop where his orders end.

Meanwhile, Robert Gu, a once world-renowned poet who was stricken by Alzheimer’s, is miraculously cured not just of that malady but of old age, restored largely to the body of a teenager, but without the one thing he’d most like back – his ability to craft poetry. He’s approached by an earnest graduate student – virtually, as most meetings in this book seem to be – to help with the latter’s thesis, only to have that student’s online persona hijacked by another entity that offers him a Faustian bargain: help with this project (tied into the same investigation into the UCSD bio-research facility where the mind-control experiment lives) and you’ll get your muse back. Gu was a miserable wretch before his dormancy, lashing out with intent to wound at anyone near him, but after doing so once to his granddaughter Miri, the two end up with a tenuous bond that draws Miri into Robert’s endeavor, without his knowledge at first, and gives her a pivotal role in the attempt to stop a global takeover.

Vinge is himself a transhumanist who has written on the inevitability of the merger of man and machine known as the singularity – an idea first encapsulated by Ray Kurzweil in his non-fiction treatise The Singularity Is Near – and here he has created a world where the singularity is quite close, so much so that he can’t stop telling us about it. The story is overburdened with the minutiae of the operations of these net-enabled clothes, with their own lingo (either you’re “wearing” or you’re hopeless), and the same attention to detail turns the climactic passage, a battle waged on the ground as well as over the net from points around the world, into nearly two hundred pages of confusing, slogging prose. We get the conclusion we expect – did you really think Vinge would let the bad guy take over the world with a mindworm? – and a minimum of damage to the protagonists; the only way the resolution could have been more maudlin would have been to have Gu reconcile with the ex-wife who dumped him for his malicious behavior.

I think a big part of the appeal of such books is the predictions inherent in the writing – wearable technology is certainly getting closer, with the mild success of Google Glass, and our access to the Internet is becoming broader, which makes our movements easier for someone like the NSA to track. Vinge doesn’t seem to worry much about the enormous energy requirements of his near-future vision; virtual-reality remains stubbornly separate from real reality, we don’t hold meetings with overseas colleagues via projections or holograms; and the silent instant messaging he has the more sophisticated wearers use seems too much like the Red Herring telepathic-email device called orecchio, which was an April Fool’s hoax.

I’d recommend anyone interested in this particular branch of science fiction to read William Gibson’s Neuromancer or Neal Stephenson’s Snow Crash instead. Both cyberpunk novels deal with the melding of man and machine in a more humanist light, keeping the narrative moving without the juvenile obsession with sci-fi trappings.

Next up: Going old-school with Arthur C. Clark’s Rendezvous with Rama, winner of the Hugo Award in 1974.

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→ December 30, 2014
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To Say Nothing of the Dog.

Connie Willis’ Hugo-winning novel To Say Nothing of the Dog is a tight mélange of three distinct styles of fiction: A comedy of manners, a time-travel novel, and a literary parody, all tied up into a coherent single narrative that reminded me of Jasper Fforde’s Thursday Next novels, less witty but more sophisticated in structure and story.

Ned Henry works as a time-travelling historian in the 2040s, helping the imperious Lady Schrapnell rebuild the Coventry Cathedral in as authentic a fashion as possible, which means jumping back to just before the Luftwaffe’s raid on Coventry to see what the cathedral looked like, including the evasive (and very ugly) bishop’s bird stump, a wrought-iron monstrosity that has disappeared from the records and the scene. When one of Ned’s colleagues, the beautiful Verity Kindle, appears to break the rules of time-travel by bringing a non-insignificant object back from a trip to the 1880s, Ned is sent backwards in time to try to undo the damage, dropping himself into a Wodehousian setup of mismatched couples, mistaken identities, charlatans, mad mothers, and precious fishes – to say nothing of the dog.

Willis’ title comes from Jerome K. Jerome’s fictional travelogue, Three Men in a Boat (To Say Nothing of the Dog), which I’m reading now to try to catch up on the allusions I missed. (One is off base, though; Willis puts an actual dog in Jerome’s boat, even though the real-life boat trip that Jerome used as the basis for his book did not include the canine Montmorency.) Fforde’s literary allusions and stabs at satire were broader and easier to catch; Willis succeeds more in the other two aspects of her novel, mimicking the Victorian comedy of manners (and, later, early 20th century English mysteries) and utilizing time-travel as more than just a plot device.

Willis’ time travel involves a self-correcting “continuum” that works to prevent historical incongruities that would change future events; for example, historians who attempt to travel back in time to assassinate Hitler can’t land anywhere close (in space-time) to him. Jumps into the past can create “slippage” of time or space that increases around a potential incongruity, so when Verity brings back something she shouldn’t have (in fact, that the “net” of time-travel should have prevented her from bringing back at all), the scientists assume they’ve created an incongruity and worked to correct it.

The shift from the imitation of comic novels – including the Jeeves-like butler Baine, who did, in fact do it, but “it” isn’t the it you think it might be – to a mystery that takes on aspects of those of Agatha Christie and especially Dorothy Sayers (the Lord Peter Wimsey mysteries), with Ned and Verity working together to try to figure out where the bishop’s bird stump has gone, what the incongruity might be, and how to fix it. As in Christie’s novels, there are side mysteries, such as what Ned’s colleague Finch is doing running around in 1888 pretending to butle while on a secret mission for the time-travel department, or why the continuum sends Ned back to a dark tower in the late 1300s when he was just trying to get back to the present.

The greatest strength of the book is the Victorian characters, who are mostly of the upper-class twit variety, including the domineering yet gullible Mrs. Mering, her simpering daughter Tocelyn (“Tossie”), and the fraudulent psychic Madame Iritosky. We’re also treated to an ongoing debate between two professors of history in 1888, Professor Overforce and Professor Peddick, whose argument on the nature of free will and the causes of history itself dovetails nicely with the overall theme of the net, the continuum, and self-correction of incongruities. There’s also a plethora of silly (but still funny) jokes around confusion of names and people, and a fair bit of physical comedy as well.

To Say Nothing of the Dog drags for a short stretch after Ned has first arrived in 1888, once when we’re waiting for him to realize what he’s brought back for Verity (it’s obvious to the reader from the start) and another time when we’d really like the Merings to just get on with whatever it is they’re supposed to be getting on with, two sections where the situational humor can’t mitigate the glacial pacing of the plot. Those are temporary, and once Ned and Verity get cracking on the ultimate mystery of the continuum’s odd behavior, the narrative steps on the gas and doesn’t let up until a rousing, pitch-perfect finish that wraps up almost every plot thread but leaves one critical question unanswered for us and for the characters, an ambiguity that would have driven Hercule Poirot’s little grey cells to spontaneous combustion.

Next up: Before tackling Jerome K. Jerome, I knocked off Jo Walton’s Hugo winner, the wonderful novel Among Others, which is on sale for $2.99 in the Kindle edition through that link.

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