Tuesday, May 17, 2011

30 Days of Genre - What Is Your Favorite Couple in a Genre Novel?

Beren and Lúthien

Once again, this was a difficult selection for me, mostly because couples are often more or less a tangential element of many of the books that I read. Anyone who has read through any of my reviews and paid attention to which books I am reading and reviewing should have picked up that I don't spend a lot of time reading books in the paranormal romance subgenre, or in any kind of genre that could be described as "romance" at all. In most cases, the couples that do show up are a secondary plot in any story I typically read.

This is not to say that there are no couples, and no romance. On the contrary, fantasy fiction is littered with couples. The only problem is that most of the couples are not the point of the story, and their romance, though of critical importance to the characters themselves, is simply not all that compelling a part of the books in which they inhabit. I point as an example to the romance between Dorian Hawkmoon and Yisselda in Michael Moorcock's Hawkmoon and Count Brass series. Though it is clearly of great importance to both characters, and serves to cement the alliance between Hawkmoon and Count Brass, the actual shown interaction between the characters in the books is fairly minimal. Similarly, the romance between John Carter and Dejah Thoris, even though it spans many books in Edgar Rice Burroughs' Barsoom series and drives much of John Carter's actions, is mostly off-screen (and I don't even want to know how a human manages to reproduce with a woman whose species lays eggs).

And the problem I have with both the Hawkmoon/Yisselda and Carter/Thoris stories is that they are more or less one directional: the heroic warrior comes to the rescue of the damsel in distress. And then comes to her rescue again. And then goes out to defeat the villains that threaten their shared home while she stays behind and waits for his return. A couple more to my liking would be Morgan and Raederle from the Riddle-Master of Hed series by Patricia A. McKillip, as when Morgan goes missing Raederle sets out to find him, and even takes the role of protector through part of Heir of Sea and Fire (even though she is mistaken about who she is protecting from whom). But Morgan and Raederle don't even meet until the end of the second book in the trilogy, even though they are betrothed to one another from the outset of the first book. And it is hard for me to pick a couple that got together as the result of a promise made concerning a riddle contest as my favorite couple. I even considered picking Legolas and Gimli as my favorite couple, as their long-running competition over who has killed the most orcs is a classic of fantasy literature.

But even the convivial banter of Legolas and Gimli cannot compete with J.R.R. Tolkien's great romantic couple Beren Erchamion and Lúthien Tinúviel. Even their names reflect their shared history - Tinúviel, which means "Daughter of Twilight", is the name Beren used for Luthien when he saw her dance from a distance and did not know who she was. (Okay, let's set aside the stalkerish aspects of Beren repeatedly spying on Luthien dancing). Erchamion means "the One-Handed", a condition that resulted from the trials Beren and Luthien faced to be with one another. This is a couple that would literally go into Hell and face down the Devil in order to be with one another.

The obstacle to Beren and Lúthien's love is, as usual, her father. Actually, her father and her mother. Lúthien was an elven princess - the daughter of Elu Thingol, the King of Doriath, King of the Sindar, and High-King of Beleriand. However, Thingol was the junior partner in his marriage. His wife, and Lúthien's mother, was Melian the Maia, making her literally the equivalent of an angel. So Lúthien is the daughter of one of the most powerful kings of the elves and his angel queen. And who is Beren? Well, his father was Barahir, a king among men, but when Beren was young his father's kingdom was destroyed by Morgoth's forces, forcing Barahir, Beren, and a handful of followers to live as outlaws, until eventually Morgoth hunted them down and killed all save for Beren. Beren then took up living in the wilderness with animals as companions. Eventually Beren finds his way into Doriath, overcoming the barrier of enchantment that Melian had placed around it to keep everyone not specifically permitted by Thingol from entering the kingdom. So, not only is Beren a man and a homeless vagabond, he's also a trespasser. Beren falls in love with Lúthien on sight, and eventually, after running away from him a few times, Lúthien falls in love with Beren. They strike up a clandestine relationship, which only serves to annoy Thingol even more when he finds out about them.

So what does Thingol do? He tells Beren that he can only marry Lúthien if he gets the Silmarils from Morgoroth's crown. It is something of an understatement to say that this is a fairly high bar. And now, a digression for those who have not read The Silmarillion:

In the beginning of time Eru the One created the Valar, who are sort of super angels, and the Maiar, who are more mundane angels, and then set them about helping him create the world (with music). Melkor was the most powerful of all the Valar and decided he didn't like Eru's music and wanted to create his own instead. This act of rebellion continued after the world was made as Melkor and those Maiar who had joined him sought to destroy what the other made. Anyone who is familiar with Paradise Lost should recognize Melkor as filling in for Lucifer. When the Valar set up great lamps on either side of the world to light it, Melkor knocked them down. So the Valar first waged war upon Melkor and captured him and chained him up for three ages. Later they caused to gigantic trees to grow, one with golden fruit and one with silver fruit that both shone to light the world. These were the Silma trees. After the elves were born and journeyed at the invitation of the Valar to the Undying Lands, the elf Fëanor, who was the greatest smith to ever live, crafted three jewels that captured light from the Silma trees, which became known as the Silmarils.

Melkor was eventually paroled and released after he begged for forgiveness. But Melkor still sought to darken the world, and with a great spider spirit of darkness named Ungoliant he killed the two trees, killed Fëanor's father Finwe, and stole the Silmarils before fleeing to his fortress Angband in Middle-Earth. The Valar caused two fruits to be born from the dying trees and set them in the heavens as the sun and the moon, and Feanor vowed vengeance, leading a host of elves back to Middle-Earth, an act the Valar forbade. The elves renamed Melkor, calling him Morgoth, the "Dark Enemy of the World" and went to wage war upon him despite being told they would never be allowed to return to the Undying Lands and could expect no help from the Valar. Morgoth put the Silmarils into an iron crown and styled himself ruler of Middle-Earth, creating orcs, trolls, werewolves, vampires, and dragons to fight his wars, and aided by the many exiled Maia who had rallied to his side, including the fire-spirits, also called Balrogs. Much of The Silmarillion details the war between the elves and Morgoth, with battles given names like the Battle Under the Stars, the Battle of Sudden Flame, and the Battle of Unnumbered Tears. The elves eventually came to call their war against Morgoth "The Long Defeat".

And thus ends the digression. In short, what Thingol told Beren was that he could marry Lúthien if he fought his way into the fortress of the world's equivalent of Lucifer and seized some gemstones that vast armies of elves had been waging war for thousands of years to obtain. And Beren set out to do just that, getting himself captured by Sauron, the Lord of the Werewolves, and imprisoned in his tower. And Lúthien, not content to sit at home and wait for him, set out to help him do it. Lúthien, in fact, accomplishes a feat of such magnitude that it almost defied belief. Assisting her the great wolfhound Huan defeated werewolf after werewolf, finally defeating Draugluin, the father of all werewolves. Finally, Sauron (and yes, this is that Sauron) transformed himself into a massive werewolf and attacked the pair, whereupon Lúthien dazed him with a blow allowing Huan to grapple with Sauron and eventually best him. And Lúthien then sends him away after compelling him to turn over the keys to his tower to her. When reading the Lord of the Rings, always remember that Sauron was once defeated by an elven princess aided by a wolfhound.*

But that is only the prologue for Beren and Lúthien. They still had to get into Angband and steal the Silamrils from Morgoth's crown. But first they had to fight off disgruntled other suitors for Lúthien's hand, a battle in which Beren was killed and brought back to life by Lúthien's love. Lúthien disguised herself as the vampire Thuringwethil and Beren as the previously defeated Druagluin and went to the gates of Angband. Trying to get in, they were confronted by Carcharoth, the mightiest werewolf, but Lúthien called upon her Maia heritage and stunned him into sleep. Eventually they made their way into Morgoth's own throne room, but he was not fooled by their disguises, and Lúthien offered to sing for him. Overcome by lust, he agreed, and her singing put everyone to sleep, and she beguiled Morgoth himself. Beren pried one Silmaril loose, but his knife broke when he tried to get ;a second, injuring Morgoth and waking him up.

While fleeing Angband, the couple were confronted yet again by Carcharoth, and in an attempt to use the Silmaril's power to fend off the werewolf, Beren has his hand bitten off (and loses the Silmaril in the process as Carcharoth swallows it, and its light burns the werewolf from the inside driving it insane with agony). Poisoned by Carcharoth's venomous fangs, Beren lays dying in Lúthien's arms before the eagles show up and save them, taking them back to Doriath. Beren is healed and the couple go to Thingol, who asks if Beren has the Silmaril. And then Beren delivers one of the best lines in Tolkien's work, stating that the gem is in his hand. A hand that happens to be in the stomach of a fearsome, insane werewolf rather than attached to his arm. Beren later participated in the hunting of Carcharoth along with Huan, Beleg, Mablung and Thingol himself. But Huan and Beren were killed in the hunt, with Huan using his last words to wish Beren farewell (Huan was permitted to speak only three times in his life). Lúthien laid down and died upon hearing of Beren's death, and they both went to the Halls of Mandos where Mandos took pity on them and restored them to life, but decreed that they would both thereafter die the death of men and go beyond the world.

As a side bit of trivia, and just to make things a little clearer as to where Tolkien stood regarding this couple: On the joint tombstone he shares with his wife, J.R.R. Tolkien is identified as Beren, and Edith Tolkien is identified as Lúthien.

So, for being a couple that overcame death (twice), literally went into the very fortress of Lucifer and back, and confronted him and all of his lieutenants along the way in order to be together, Lúthien and Beren are my favorite couple.

*One of the most powerful elves to ever live (who also happened to be half-angel) and the greatest wolfhound in history to be sure, but still: Sauron got sent away with his tail between his legs by a single pair of adversaries who had already had to defeat dozens of werewolves he sent against them, including the father of all werewolves.

Go to Day 6: Who Is the Most Annoying Character?
Go to Day 8: What Is the Best Fan Soundtrack?

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Tuesday, May 10, 2011

30 Days of Genre - Who Is the Most Annoying Character?

Harry Potter

I know. I'm almost certainly going to catch some flak for singling out every one's favorite boy wizard as the most annoying character in genre fiction. But I'm going to do it anyway. Because he deserves it.

I could have picked someone like Sansa, from A Game of Thrones, with her simpering naivete. But the deluded princess character who believes in romantic knights and handsome princes is such a cliche that Sansa is almost not even a character so much as she is a caricature. Or I could have picked someone like the house elf Dobby, who is so annoying that even Gollum hates him. And although Dobby is a truly annoying character, he, like Gurgi from the Chronicles of Prydain, is once again just another example of a recurring character type - the comic relief sidekick. Based solely on reputation I could have picked Bella from the Twilight books, but the only problem there is that I haven't actually read them, and I refuse to include characters, locations, or scenes from books that I have not read in my 30 Days of Genre selections.

And I'm not picking Harry Potter because of annoyance at the enormous popularity of J.K. Rowling's books. As far as I am concerned, the more books an author sells the better. No, I am picking Harry Potter because he's an obnoxious lazy jock. Is Harry smart? No. Hermione is. Is Harry studious? Nope, Hermione again. Is Harry at least naturally talented at academics? Not really. He's decent at defense against the dark arts magic, but in every other category, Hermione outshines him. Who solves the problems? Almost every time it is Hermione. Whenever there is heavy lifting to be done, almost every time it is done by Hermione, and on the rare occasions when it isn't, it is usually done by some other character while Harry stands around gawking. And what is Harry good at? Well, he has a natural talent for broom-riding and is thus drafted into being the star player on the Gryffindor quidditch team. Potter, without most people knowing it, is a stereotypical dumb jock. Not only that, he's a wealthy dumb jock who dates a girl he doesn't really like using her just to get some sort of petty revenge when his two best friends strike up a relationship.

And people fawn over him in the books. He's the boy who lived after all. But this just makes him more annoying, since every part of his character that is not a lazy dumb and mostly thoughtless jock is a tired cliche. Harry Potter is the chosen one. Why? Because he is prophesied to be the chosen one. One would think that all the people around Potter would notice that he's pretty much just a dopey teenage athlete bumming around school with nothing in particular to recommend him as anything special. Even so, Dumbledore takes Potter under his wing and makes him into the Headmaster's pet, which makes him an even more annoying character (compounded by the fact that Dumbledore is a very annoying character in his own right). And all this based more or less on an accident of genetics and random prophecy.

So for being the lazy, indolent, and thoughtless jock who stumbled undeservedly into being treated like a hero, Harry Potter gets my vote as the most annoying character in genre fiction.

Go to Day 5: What Character Do You Feel You Are Most Like (or Wish You Were)?
Go to Day 7: What Is Your Favorite Couple in a Genre Novel?

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Event - Nevada Rose Book Release Party


So where will I be this Thursday at 8:00 PM? I'll be in New York attending the book release of Nevada Rose by Marc McAndrews (the Facebook page for Marc McAndrews Photography can be found here) at Bubby's located at 1 Main Street in Brooklyn. Julia Haltigan and Amber Martin will be performing, and both Dennis Hof (the owner of the Moonlite Bunny Ranch featured on HBO's Cathouse series) and Mika Tan are scheduled to attend. You can get tickets here if you want to attend, although I have no idea how many are still available.

The book Nevada Rose is a photographic journey across rural Nevada that takes a long look at the two dozen or so legal brothels that dot its landscape. I have not yet seen the completed book, but the portions I have seen look beautiful. The best description I can give based upon what I know is that it captures the last vestiges of the Old West that have been crossed with the gaudy glitter of the legal sex industry. The book features many of the women who ply their trade selling sex in the hinterlands of Nevada among them the aforementioned Mika Tan (who I will note has since retired from working at the Bunny Ranch), but also Brooke Taylor, Maya Love, Camryn Cross, and Bunny Love. Not content with merely showing the obvious side of the brothel industry in Nevada, Marc also turned his camera on the other people who make the brothels function - cashiers, cooks, drivers, and cleaning crew among others, giving a much grittier and comprehensive view of the legal sex industry. The book has been reviewed in Publisher's Weekly, Working Class Magazine, City Arts, and Interview Magazine. Once I get my copy I am certainly going to review it as well.

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Monday, May 9, 2011

Review - Lost in Shangri-La by Mitchell Zuckoff


Short review: Joyriding sightseers crash into the jungle. Most die. Survivors aren't harmed by natives, don't lose limbs to gangrene, don't have to live off the land.

Haiku
The Gremlin Special
Crashes into the jungle
Rescuers come soon

Disclosure: I received this book as an Advance Review Copy. Some people think this may bias a reviewer so I am making sure to put this information up front. I don't think it biases my reviews, but I'll let others be the judge of that.

Full review: There is a tendency to view major world-spanning events like World War II as a macroscopic clash of civilizations as nations assemble their resources and vast fleets of ships, airplanes, and armored vehicles are arrayed against one another in epic ranks of steel and destruction. But the reality is that a vast world-spanning event is really a multitude of small, personal stories involving people living in some obscure corner of the world doing nothing more than going about their daily lives. And Lost in Shangri-La drives this point home with a mostly forgotten story about survival in the jungles of New Guinea that sparked a media sensation in 1945 during the waning months of World War II.

The story, in a nutshell, involves a group of off-duty U.S. Army Air Corps technical support personnel, including a small contingent of female personnel (in the nomenclature of World War II, these were "WAC"s, because they were part of the Women's Army Corps) who decide to take a day trip to gawk from the windows of an airplane at some natives living in an isolated valley. To get to this isolated valley requires flying in a C-47 dubbed the "Gremlin Special" at high altitude through dangerously treacherous mountain terrain with unpredictable winds. Due to a collection of poor decisions by the commander of the joyride combined with the lousy flying conditions, the plane crashes, killing most of those on board. The survivors are badly injured and must deal with inhospitable jungle and dangerous natives while a rescue effort is mounted by the U.S. Army. After the survivors endure many trials and tribulations among the stone age natives, the U.S. Army manages to get them back to civilization. Despite the subtitle of the book that includes the phrase "a plane crash into the stone age", the survivors are located so quickly, and air drops of supplies established so swiftly, that it really should have been called "a plane crash into lots of airlifted goodies".

Well, sort of. One of the interesting things about the book is just how a story that is generally as bland as the historical events detailed in its pages managed to become a major media event in a world still wracked with war. The whole book is filled with explanations of what might have happened that would have been bad for the survivors, but it turns out didn't actually happen. After they crash, Zuckoff describes how difficult it would be to locate the survivors under the jungle canopy, but they find a clearing and get located within a couple days. Zuckoff writes about how they might have been threatened by the warlike natives, but the natives turn out to be welcoming and friendly. Zuckoff writes about how the survivors' infected and gangrenous wounds might have resulted in amputation of the affected limbs or even death if medical help didn't arrive in time, but then medical help arrives in time. Zuckoff describes how dangerous the parachute jumps of the rescuing party would be, but then everyone lands safely. Zuckoff details everything that could go wrong with the plan to extract the survivors from the jungle, but then everything goes well and everyone gets home safely. Over and over, the repeated theme of the book is just how dangerous things are for the survivors, but then everything turns out fine.

But what is not really dealt with much in the book is the openly racist attitudes of the Americans, and the racist and sexist overtones of the media coverage. Zuckoff deals squarely with the racist coverage with respect to the Filipino paratroopers sent on the rescue mission. But the racism inherent in the American attitudes towards the natives is only given a moderately passing acknowledgement. And the fact that it appears that it became a huge media story almost solely based upon the racist and sexist attitudes of the day. The fact that Margaret Hastings, the lone WAC survivor, was a pretty blond white woman almost alone in a trackless jungle surrounded by dark skinned natives who just stepped out of the stone ages and who were presumed by everyone to be savage headhunters. The obvious implication was the supposed danger this fair-haired damsel in distress was in from these horrible natives who clearly could only be barely restrained from raping her. Adding to the media hoopla were the lantern jawed blond heroes whose job it was to protect Hastings' virtue from these terrible savages, but it seems fairly clear that they are only important because of their supposed role as protectors. Never mind that from context it seems pretty apparent that Hastings (and many other WACs) were sexually active, the media clearly wanted to project the idea that Hastings was a demure virgin who only remained unmarried due to her intense patriotic devotion. Also never mind that most of the heavy lifting in the rescue effort was done by the Filipino paratroopers and medics, who the media completely ignored. The Filipino medics in particular who made the most dangerous jumps of all the rescuers in order to be closer to the survivors and be able to treat them more quickly, were shamefully ignored by the American media.

But this only highlights the confused relationship the media seems to have had with this story. Hastings became a media sensation because of her obvious attractiveness, but given the mores of the era, her chastity was assumed and impliedly threatened by supposedly barbaric natives, which enhanced the salacious nature of the story. Most of the rescuers were Filipino, and thus would have been considered barely more than barbarians themselves, and thus they were left out of the media reports entirely. The attitudes towards the natives of the inaptly named "Shangri-La" valley were similarly confused. In the minds of the the American aircrews and support personnel (and thus to the world at large) the valley was mistakenly assumed to be an idyllic, peaceful enclave of natives living primitive peaceful lives. But they were also at the same time described as giants, cannibals, headhunters, and worse. In short, if there was a stereotype that could be applied to the natives, then it was. Even if it contradicted some other randomly selected stereotype. But this is only given limited attention in the book, whereas the fact that the valley had actually been discovered years before by a man named Archbold, and that Archbold's expedition had had a deadly encounter with the natives. The shooting death of one of the natives by the Archbold expedition is used in the book to provide some tension, as Zuckoff implies that the inhabitants of "Shangri-La" might have been impelled to seek revenge for this killing, but like all such dire foreshadowings in the book, this does not actually result in any additional difficulties for the stranded survivors.

Except for the crash itself, which resulted in numerous deaths, the events surrounding the crash of the gremlin Special and the subsequent rescue of the survivors don't seem to be all that exciting. Zuckoff does a good job at cataloguing all of the various interesting backgrounds of the people involved: the colorful colonel who organized the rescue effort, the paratrooper whose father was a guerilla leader in the Philippines, the brave and committed Filipino paratroopers who followed him into the jungle on the rescue mission, a filmmaker who was a former actor and petty jewel thief who parachutes into the jungle drunk, and of course the survivors - a pretty independent-minded WAC, a tough and brave officer whose twin brother was killed in the crash, and a terribly injured sergeant who shoulders manfully on through his pain. But the problem is that the colorful and interesting characters are much more interesting than the story they inhabit. Some joyriders crashed, a few survived, the Army organized a successful rescue operation that went according to plan.

Although Zuckoff's treatment of the material is thorough and comprehensive, I was left wanting more. The story of the Gremlin Special survivors, despite Zuckoff's best efforts, is, save for the crash, a fairly uneventful tale of a successfully executed Army Air Corps operation. Even the natives, who were the subject to much contemporaneous speculation and fascination, turn out to be only moderately interesting insofar as they affect the story itself. More interesting is the story of the media reaction to the news, but here it seems that Zuckoff opted not to evaluate the media frenzy from a modern perspective, and instead simply chose to report the facts without editorial comment. There is purity in that approach, but it left me thinking there is another book to be written about this aspect of the media coverage in the 1940s that delves into the changed media and social landscape. On the whole, Lost in Shangri-La is a strong, informative piece of reporting, that relates in fine detail the facts surrounding the crash of the Gremlin Special, the interactions of the survivors, natives, and rescuers, and the events that resulted in bringing the three survivors to safety.

Mitchell Zuckoff     Book Reviews A-Z     Home

Friday, May 6, 2011

30 Days of Genre - What Character Do You Feel You Are Most Like (or Wish You Were)?

Éomer, Third Lord and later King of the Riddermark

Once again, this is a question that was tough to come up with an answer to. First off, I am confining myself to genre fiction characters, because otherwise I would, like most other lawyers, be extolling the virtues of, and aspiring to be like the Harper Lee character Atticus Finch from her masterpiece To Kill a Mockingbird. I suspect that if one took a survey of literary-minded lawyers one would find that for the bulk of them their personal hero would be the upright, honorable, and caring Finch. But as great a character as Atticus Finch is, he isn't in a genre novel, and the point of the 30 Days of Genre is to display our love for science fiction and fantasy. Sadly, bookish lawyers who hold down government jobs and practice tae kwon do on the side are in short supply in genre fiction.

Among the characters I considered were Larry Niven's creation Gil "the Arm" Hamilton, featured most prominently in The Long Arm of Gil Hamilton, Andre Norton's Murdoc Zern of The Zero Stone and Uncharted Stars, J.R.R. Tolkien's Boromir, featured in The Fellowship of the Ring, as well as Boromir's brother Faramir, found in the second two books of The Lord of the Rings. And though each of them have characteristics that I think I share, none of them quite fit me the way I think a character should. Gil is resourceful, honorable, and a government worker to boot, but his youthful exploits are far beyond anything that I would have ever actually done even if given the chance. I'm self-aware enough to know I am just not Belter material, even transplanted Belter material. Murdoc Zern, who I have mentioned in this series before, is also an honorable, resourceful individual who solves his problems with his wits, but he takes up a rootless and almost responsibility-free life as a free trader, which I could never do. Boromir and Faramir are, in some ways, two sides of one coin, forming a complete individual out of two distinctly flawed halves (Faramir less flawed in many ways than Boromir), but both have many admirable characteristics that I know I do not have, and at least a few flaws that I hope I do not have.

But Éomer, the Third Lord of the Riddermark, who appears in The Two Towers and The Return of the King, is a character that I would like to be like. In many ways I hope that I actually am like Éomer, and in other ways I fear that I am. He is bold, courageous, honorable, and loyal - all of which I hope to be. He is also headstrong, stubborn, rash, and at times foolhardy, which are attributes I fear I share with him. When King Théoden ignores his responsibilities to defend the Westfold, Éomer steps in against the King's wishes and takes it upon himself to perform this duty. When he encounters Aragorn, Legolas, and Gimli as they traverse Rohan, he chooses to trust them, and later becomes close friends with Aragorn, and engages in a friendly rivalry with Gimli over the beauty of Galadriel. Despite the fact that Grima Wormtongue is the closest confidante of Théoden, Éomer opposes the honeyed tongued royal adviser's bad counsel. And Éomer does all of these things knowing that they will result in a sentence of exile, and could result in a sentence of death. I am a quick judge of character like Éomer. I hope that I am a good judge of character as well, as he appears to be. And although I have never had to make a decision that might result in my own exile, I am in a position where I often have to make unpopular decisions, so I can sympathize with Éomer on that score.

But there is a downside to the similarity. Éomer is a steadfast warrior who rallies to his uncle's side to defend Helm's Deep, joins him to confront Saruman, and later leads an eored of Rohirrim into the Battle of Pelennor Field. But when Théoden dies, and Éomer becomes king, Éomer also discovers what he believes to be his sister Eowyn's dead body on the field of battle.

'Éowyn, Éowyn!' he cried at last: 'Éowyn, how come you here? What madness or devilry is this? Death, death, death! Death take us all!'

Then without taking counsel or waiting for the approach of the men of the City, he spurred headlong back to the front of the great host, and blew a horn, and cried aloud for the onset. Over the field rang his clear voice calling: 'Death! Ride, ride to ruin and the world's ending!'

And with that the host began to move. But the Rohirrim sang no more. Death they cried with one voice loud and terrible, and gathering speed like a great tide their battle swept about their fallen king and passed, roaring away southwards.

This is a noble scene, but it is also incredibly stupid and foolhardy. Éomer's rage at the apparent death of his sibling drives him to lead his host in a wild and uncontrolled charge, and this quickly gets them into trouble. Even though the men of Gondor sally from the city to try to support the Rohirrim, the forces of Mordor are able to keep them separate, and surround Éomer's men. When his men needed him to exercise good judgment, he throws caution and sense to the wind in favor of blind rage and a thirst for revenge. In short, when the mantle of authority falls upon Éomer's shoulders directly, he behaves in a reckless and unkingly manner. Éomer (and the Rohirrim) are only saved by the fortuitous outcome of Aragorn's long shot gamble to seek out the Paths of the Dead. Even though all is well that ends well in this case, Éomer's penchant for letting his emotions rule his judgment under stress is a trait I have been known to share. I'll just say that if someone ever hurt my wife or children, well, there would probably be some seriously rash actions taken on my part.

So, for all these reasons, I'm going to go with Éomer as the character I am most like.

Go to Day 4: What Is Your Guilty Pleasure Book?
Go to Day 6: Who Is the Most Annoying Character?

30 Days of Genre     Home

Follow Friday - Seventeen Is a Prime Number


It's Friday again, which means it's time for Follow Friday. To join the fun and make now book blogger friends, just follow these simple rules:
  1. Follow the Follow My Book Blog Friday Host (Parajunkee) and any one else you want to follow on the list.
  2. Follow the Featured Blogger of the week - Al at Magnet for Books.
  3. Put your Blog name and URL in the Linky thing.
  4. Grab the button up there and place it in a post, this post is for people to find a place to say hi in your comments.
  5. Follow, follow, follow as many as you can, as many as you want, or just follow a few. The whole point is to make new friends and find new blogs. Also, don't just follow, comment and say hi. Another blogger might not know you are a new follower if you don't say "Hi".
  6. If someone comments and says they are following you, be a dear and follow back. Spread the love . . . and the followers.
  7. If you want to show the link list, just follow the link below the entries and copy and paste it within your post!
  8. If you're new to the Follow Friday Hop, comment and let me know, so I can stop by and check out your blog!
And now for the Follow Friday Question: Circle time! Time to share. What character in a book would you most like to be, what character in a book would you most like to date?

Today I think I'm going to pick Lazarus Long as the character I'd like to be, because who wouldn't want to be a nigh-immortal independent-minded curmudgeon who is so hyper-competent that he is basically good at anything he sets out to do? The only characteristic of his I'd drop is the creepy incest subplot with his mother that crops up in Time Enough for Love. Ick.

As far as who I would date, I'll pick either Leisha Camden from Beggars in Spain, the sleepless hyper-competent protagonist, or Tenar from The Tombs of Atuan. Maybe Raederle of An from Heir of Sea and Fire, the hyper-competent princess who sets about rescuing her chosen love. I believe I may have a thing for hyper-competent characters.

Go to previous Follow Friday: Louis the Sixteenth
Go to subsequent Follow Friday: Eighteen Wheels and a Dozen Roses

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Wednesday, May 4, 2011

Review - Dhalgren by Samuel R. Delany


Short review: . . . the Kid returns to Bellona, meets people, has sex, writes, bums around, leaves and then . . .

Haiku
Go to Bellona
Find the crazy people there
Then come back again

Full review: After writing Nova, Delany didn't publish any fiction for five years. After this hiatus, he produced Dhalgren, his most ambitious work, although, in my opinion, not his best. Dhalgren is a very distinctive work, and is probably one of the most polarizing in the science fiction genre, provoking reactions from love, to hate, to contempt.

The book's protagonist, unnamed in the beginning of the book, and known only as "The Kid" through the rest, seems to wander through the decayed remains of the fictional city of Bellona - supposedly situated in the middle of the United States, but cut off in some unexplained way from the rest of the country. In Bellona, the sun is huge and red, there are sometimes two moons, time seems to intermittently flow faster or slower than normal, and an array of odd people try to live in a city where nothing seems to work. Bellona appears to be cut off from outside contact by radio, telephone, or other methods, its only interaction with the outside world appears to be the handful of people who manage to find their way in or out of the city.

The Kid starts his journey outside the city, where he has sex with a random woman, tells her he has lost his name whereupon she bestows him an "optic chain" and promptly turns into a tree. He hitches a ride on a truck, finds the bridge to Bellona, meets a group of women leaving the city who give him an "orchid" (a bladed weapon worn on the wrist) and finds Tak, the unofficial gatekeeper to the city. He hesitantly engages in a homosexual liaison with Tak. And then the book gets surreal.

As one might guess, the book has a fair amount of sexual content, and much of it is pretty explicit. The Kid engages for much of the book in a three way sexual relationship with Lanya and Denny, but there are other sexual elements introduced, like an episode of group sex involving multiple members of the "Scorpions" gang (of which The Kid and Denny are members), and a single woman. While sexuality was touched upon in his previous works, Dhalgren marks Delany's push into the area of sex, gender, and sexuality as major themes in his books. Delany explores several sexual relationships- between the older Kid and young vulnerable Denny; between the older Tak and The Kid; between a young girl and her obsession with her own rapist; between the Scorpions and the women who surround them, and so on.

Dhalgren is a difficult books to understand. The Kid appears to be an unreliable narrator, and although his presence drives much of what story there is, he is mostly passive, drifting from situation to situation, getting lost, discovering new parts of the city, and interacting with a wildly disparate group of people. Everything that happens in Bellona has an odd, dreamlike qualify, and an air of unreality. There is the possibility that Bellona may not exist at all, and may only be a figment of The Kid's deranged mind.

Wandering through the city, The Kid comes across a commune that has taken up residence in a city park where he meets Lanya, who gives him a half-filled book: he writes in the unused pages of the book throughout the rest of the story, seemingly writing the story of the book he is in. He later stumbles into an apartment complex and befriends a family that seems to be in denial about the oddities of the city around them. Here, one finds a union of the normal and what would be unacceptable behavior - while the father of the family goes to a nonexistent job every day and the mother insists on maintaining a normal lifestyle with family dinners, their teenage daughter has been raped by George Harrison (not the Beatle, a character in the book who is a popular local figure, and known rapist), but has become fixated upon Harrison with a kind of puppy love. The Kid, while helping move the family from one apartment to another, witnesses the death of the family's son, an event that has its own unreality about it.

The Kid later interacts with a local poet who tries to get him published by a local newspaper editor (and leader of what passes for Bellonan high society) named Calkins, and eventually drifts into joining and leading the Scorpions (some of whom had beaten him earlier in the novel), a sort of street gang that is made distinctive by wearing light projectors that, when turned on, surround them with images of various predatory and mythical creatures. In keeping with a general theme that The Kid lacks a defined self-identity, his light projector is faulty, displaying only an amorphous, shifting array of light when activated.

The Kid takes his Scorpion buddies to a party thrown in his honor by Calkins, where in a very odd sequence, the street gang interacts with the intellectual elite who reside in the city: a poet, an astronaut, a psychotherapist. The Kid is interviewed by a writer as part of this party. The novel then gets very self-referential, much of the last chapter is taken up with excerpts from the non-poetry that The Kid has written (the novel talks a lot about The Kid writing poetry, but you never see any of the actual poetry), until eventually, the last unfinished sentence seems to bend back to the first partial sentence in the book, making the novel circular in a manner that is almost certainly intentionally similar to Finnegan's Wake.

In some ways, the circular nature means that it doesn't matter where you start Dhalgren. You could pick it up, begin in chapter three, read to the end, and go back and read up to where you started. Though The Kid's path is linear as he drifts from situation to situation, the story references backwards and forwards so often that reading it in this way probably wouldn't change a reader's understanding of the story much. In some ways, the story seems to suggest that The Kid has gone to Bellona before, left it, and then forgotten his experience - when he begins reading the portion of the notebook that was already filled when Lanya gave it to him, and it looks suspiciously similar to what The Kid has written, and the story that he has lived through - making one think that maybe the half-finished notebook was possibly half-finished by The Kid in a previous tour of Bellona. The Kid seems to be something of a cipher, almost without his own identity other than that which he drifts into and which the reader imposes.

As with much of Delany's later work, Dhalgren seems to be concerned heavily with culture, and the preservation of culture in the face of stress - even though Bellona is clearly a dying city, with fires raging out of control in some areas (but oddly, rarely seeming to actually consume anything), the "elite" of the city are cultural figures: poets, writers, newspaper publishers, and of course, The Kid, who spends much of the book reading or writing in his notebook, and Lanya, who is described as an artist (though she produces no visible art during the book). Even the Scorpions, with their flamboyant light projectors, fill in for sculpture and a kind of performance art in the city.

In the end, the novel poses numerous questions, and steadfastly refuses to answer them. Is Bellona real? If it is, why is it cut off from the rest of the world? Is The Kid merely insane? Who is The Kid to begin with? Why does he go to Bellona, and why does he leave? Why does anyone go to Bellona? Are they seeking a sort of hippie freedom to live in a commune away from the workings of the world? Are they merely hedonists seeking pleasure unfettered by social mores? Are they criminals in an underworld where criminal behavior is acceptable? And so on and so forth. It is difficult to recommend Dhalgren as a book to be enjoyed, because some people will almost certainly not enjoy it. It is a significant book, and on that basis, a science fiction aficionado should definitely read it if for nothing else to explain why they dislike it. I enjoyed the book, but I can certainly see the elements that someone might not like, and as a result I give it a recommendation conditioned on the understanding that at least some people will absolutely hate the book.

1976 Locus Award Nominees
1976 Nebula Award Nominees

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30 Days of Genre - What Is Your Guilty Pleasure Book?

The Sleeping Dragon by Joel Rosenberg

Once again, this question was somewhat difficult for me to answer. I am an unapologetic science fiction and fantasy fan. If you are going to try to make me feel guilty about reading Asimov or Niven or Norton or even Rowling or Coville, well, you are pretty much wasting your time. I've read Austen and Tolstoy and Shakespeare. I simply prefer the genre fiction ghetto - and in many cases I think the writing produced by genre fiction authors is superior to mainstream fiction. Give me Delany over McInerney and Heinlein over Bronte any day. So coming up with a book that would fit the bill as a "guilty pleasure" took more than a little bit of thought.

So to come up with a guilty pleasure book, I had to think of books that had truly goofy premises. I considered choosing one of Christopher Stasheff's Warlock of Gramarye books such as The Warlock Unlocked or King Kobold Revived, with its obsession with spreading democracy in a pseudo-medieval world, karate belt rankings, and pseudo-science fiction explanation for the fantasy setting. But at their heart the Warlock books are just a fairly standard science fiction series. I also considered choosing Bill the Galactic Hero by Harry Harrison, but that is out and out parody, and I don't feel guilty at all about loving it. No, what this question called for is something that was truly silly.

     

So I settled on The Sleeping Dragon by Joel Rosenberg. In reality, though I am naming The Sleeping Dragon, it is only the first book in the Guardians of the Flame series, all of which are just as silly as the first. And the reason for this is the central premise of the series: A collection of role-playing gamers are transported into the fantasy campaign world that they were set to play in and transformed into their characters. Once there, they first fight to find a way to return to their safe, comfortable twentieth century lives (which requires sneaking past a sleeping dragon), but circumstances compel them to return to the fantasy world permanently and take up the fight against the powerful Slaver Guild.

Of course, once they take up residence, the collection of transplanted heroes set about doing what every group of gamers has tried to do at least once in their gaming career: import twentieth century technology and ideas into a medieval setting. They set about creating gunpowder, building an armory, establishing a representative government first via an elected mayor and later a constitutional Monarchy, emphasizing the rule of law, and so forth. And yes, this eventually does result in elves being handed flintlock muskets. And of course, just like gamers sitting around the table, the transplanted gamers make regular cultural references to modern day Americana - using the Big Mac song as a password or referencing popular movies and actors for example. The only thing that is really missing is a steady stream of Monty Python quotes. And so, for taking the gaming cliche of having players actually transported into their fantasy selves, and then giving us wizards with gunpowder and a pet dragon to boot and translating this into more than a half a dozen books, the entire Guardians of the Flame series is my guilty reading pleasure.

Go to Day 3: What Genre Novel Do You Think Is Underrated?
Go to Day 5: What Character Do You Feel You Are Most Like (or Wish You Were)?

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Tuesday, May 3, 2011

Review - A Game of Thrones by George R.R. Martin


Short review: In the game of thrones you win or you die. Mostly people die. Oh yeah, winter is coming too, but no one really seems to care.

Haiku
An iron throne, Stark,
Lannister, Baratheon,
And a lot of death

Full review: Once upon a time there was a writer who was tired of stories that began with "once upon a time" and had a heroic farm boy take up his destiny to save the world from an ancient and dark menace while he rescued the ingenue, restored the rightful heir to the throne, and basically kept everyone interesting alive until at least the final pages of the story, in which case a colorful secondary character might get killed in a glorious manner giving his life for a meaningful purpose. Instead, he decided to look to English history and decided that the War of the Roses was pretty brutal, and had a fairly interesting set of characters. So he came up with a fantasy kingdom called Westeros, threw in some scary winter themes and set out to write a fantasy story that was inspired by history. To make sure the parallel was obvious, he named one of the noble families the Lannisters, to remind them of the House of Lancaster, and the family that dominated the north the Starks, which seemed pretty close to the Yorks, who dominated northern England. Hadrian's Wall was made really large, and the Scots were transformed into dangerous barbarians that had to be kept at bay by a monastic order of warriors. The writer came up with a cast of interesting characters and systematically began having them kill each other off in bloody and nasty ways. And thus A Game of Thrones was born.

Although the book is told from a rotating viewpoint, with each chapter told from the perspective of a different character, generally the primary protagonist for much of the book is Eddard Stark, the Lord of the North and best friend of the reigning King Robert Baratheon. As the novel unfolds it is revealed that Eddard and Robert were instrumental in a rebellion against the "Mad King" Aerys Targaryen which resulted in Robert being crowned king after which all but two of the Targaryen family were killed. Robert was in love with Eddard's sister, but she was killed by the Mad King and instead he entered a political marriage with Cersei Lannister of the powerful Lannister family. The book kicks off with Robert journeying to visit Eddard in his ancestral fortress of Winterfell because his previous "Hand" (which seems to be a title that describes a job we would recognize as "Prime Minister"), their mutual friend John Arryn, died suddenly and Robert can trust no one except Eddard to take the job. And this is more or less simply the introductory back story to the 800 pages of back and forth intrigue and backstabbing that makes up the bulk of the book.

And the reason for the rotating viewpoint that that the book quickly splits into a number of separate stories. In some sense, A Game of Thrones is not really one book, but rather four different books melded together into one volume. In one story Eddard Stark leaves Winterfell to become the Hand of the King in King's Landing and pursue a rather clumsy investigation into the death of John Arryn. In another, Catelyn Stark leaves Winterfell to pursue a second investigation into the attempt on the life of her son, and then clumsily makes some rather foolish political blunders that start a war. In a third, Viserys Targaryen clumsily plots to raise an army on the entirely wrong continent and reclaim the throne of Westeros by marrying his sister off to a war leader among the fantasy equivalent of the Mongols. In yet a fourth, Eddard Stark's bastard son joins the Night Watch who guard the northern wall of Westeros against the eternal winter that lies beyond and discovers his new brotherhood is made up of bastards, thieves, rapists, and other criminals. The Night Watch is also the nicest and most honorable collection of characters in the novel. And even though numerous characters in the book all express how terrible the coming winter will be - in Westeros summers last for years, and winters do too, and, we are told, the snows pile up a hundred feet deep - and how awful the denizens beyond the northern wall are, no one seems to really care, and the Night Watch is under strength, under supplied, and under trained.

One element for which the book gets a lot of praise that I was not overly impressed with was the extensive detail. This is not to say that there isn't a lot of detail, but rather that a lot of the detail is not particularly interesting. At several points in the novel the book seems to devolve into little more than a list of the names of various knights or lords, or an extended description of what everyone is having for dinner. The first is what I would call false depth - it seems like the reader is being introduced to a bunch of characters, but really there is nothing other than a list with no content. And because most of these names are not actually attached to a character that the reader can get to know, the reader simply doesn't care about them. When it is reported that Jaime Lannister killed the Karstark brothers in battle, It seems that we are supposed to be angry with him, but since the Karstark brothers were little more than a pair of names tossed into a list earlier in the book, all I felt was apathy. The second is just tedious when overused, and Martin overuses it. It seems like every couple of pages someone spends a couple sentences describing the dinner they are being served. After a while describing how the characters are eating ribs crusted in garlic and herbs or a suckling pig with crispy flesh and a different kind of fruit in its mouth stops being interesting detail and just becomes clutter.

But these are relatively small complaints, and the worst they do is serve to make the book longer. Because a book that is really at least four books needs some padding. But when one peels away the chaff, what is left is a strong story about powerful but ultimately horribly flawed people doing terrible things to one another, sometimes even intentionally. And it becomes clear that even the central characters in the book are afflicted with numerous failings. The "good king" Robert who replaced the mad king Aerys turns out to be a fundamentally weak and profligate king, dreaming of glories past and undergoing the medieval version of a mid-life crisis in an effort to repeatedly prove just how manly he is. And this leads him to being easily manipulated by his duplicitous wife into engaging in some fairly reprehensible actions, as well as some fairly foolish ones that ultimately lead to his death. In fact, one wonders how he managed to live as long as he had given that when he knew that people had been plotting to kill him in a tournament, he decided to go out and engage in some other highly dangerous play a few weeks later.

Eddard, despite being fundamentally honest and honorable, seems to be fairly slow on the uptake, and his investigative efforts are pretty flimsy. To be fair, his wife Catelyn is pretty much just as sloppy with her parallel investigation concerning the assassin who threatened her son's life, accepting a fairly implausible explanation possible apparently without even verifying if the story she and Eddard are told is actually true before she sets out and starts a war with the father of Queen Cersei. Eddard, for his part, follows an almost invisibly thin trail to a conclusion of politically explosive import. The problem is that the trail of evidence is so invisibly thin that no one in their right mind would be convinced by it, but Eddard is then conveniently helped out when his supposedly crafty political opponent simply confesses the truth when he confronts her. Of course, Eddard is too dopey to make sure he has witnesses when the confession takes place, but that seems about par for the course for him. The Starks are so honorable and so clumsy at intrigue, that one wonders how they managed to hold on to their position in the North against the scheming of their opponents before the events in the book.

And the Stark dopiness extends to the most improbably dumb character in the book, Eddard's daughter Sansa who seems to have been transplanted from another book into this one. One wonders how a child in a noble house could have grown up as insipidly naive as she is throughout the events of the story. Even when it is obvious that events are not transpiring like in the romantic tales she adores, she continues to cling to the idea that they will. But one has to wonder how she got this notion to begin with. Certainly none of her siblings harbor these inane ideas, and even her mother, as as honorably impulsive as she is, is at least not blind to the realities of the world. So how Sansa came to harbor the delusions she does is a complete mystery. One might think that Eddard had simply neglected the education of his daughters, but Arya does not share her sister's moronic outlook. Sansa is selectively not alone in this to a certain extent: while the various knightly warriors in the book are shown to be mostly practical fighting men, in one pivotal scene everyone is taken aback when a mere mercenary is able to best a knight, and the implausible basis for this shock is that a noble knight was defeated by his social inferior. That such supposedly hard-bitten and pragmatic war captains would find this to be an impossibility simply strains credulity.

And this is one of the things that I think people overlook in their rush to heap effusive praise on Martin for the book: in many ways A Game of Thrones is terribly conventional. Yes, no character is safe from getting killed or maimed or tortured in some horrific way, but when he needs an out of place girl with an improbably naive outlook on life to move the story along, he throws her in. When he needs characters to improbably put together the threads of a mystery necessary to keep the story moving, they have an inexplicable "a ha" moment and the story moves forward. When he needs knights who have been ruthlessly practical to become deluded about the fighting capabilities of members of other social classes, they do. In short, the characters in the story are weirdly inconsistent because in broad strokes Martin is telling a fantasy story and he does bow to a variety of fantasy conventions, and the weird compromises he makes to do so stick out like sore thumbs in the book.

This is not to say that the book is bad. It does, however, have many commonalities with most other fantasy stories. The only real difference between A Game of Thrones and standard fantasy stories is the high body count and the fact that pretty much every character in the book is fairly unheroic most of the time. But the deaths come so fast and furious that with only a few exceptions you don't get to know the characters in question before they get stabbed in the gut, or have their arm taken off at the elbow, or their head cloven in two, or whatever other colorfully descriptive way in which they die, and as a result you just stop caring about most of them. And since any character who begins to behave heroically is almost always killed shortly thereafter as a result of their foolishness in thinking they should do something other than the purely self-interested skulduggery, there are few characters to root for. While it certainly makes for bland and predictable fantasy to have characters who are obviously heroes who overcome improbable odds without a scratch, Martin has lurched so far in the other direction that his book becomes tedious at times in the other direction. In short: a book in which everyone is a backstabbing jerk who is liable to get killed a chapter after he is introduced is just as predictable in its own way as the standard fantasy tale.

In the end, Martin has given us a very good fantasy story, albeit a fairly bloated one. Though it is not nearly as stunningly original as many of its most hardcore proponents aver, it is still a compelling and enjoyable book. With a collection of well-drawn (albeit in many cases very short-lived) characters and a collection of mostly independent stories concerning somewhat related events, A Game of Thrones delivers a good fantasy story of brutal political intrigue, shifting family alliances, and creepy walking dead men of ice, all which is wrapped up in a bloody package made of the broken and twisted bodies of characters that in another story would be living happily ever after. So if you and want your fantasy with lots of random death and no heroic farm boys fated to save the world, then this book will be sure to please your reading palate.

Subsequent book in the series: A Clash of Kings.

1996 Locus Best Fantasy Novel Winner: Alvin Journeyman by Orson Scott Card
1998 Locus Best Fantasy Novel Winner: Earthquake Weather by Tim Powers

1997 Locus Award Nominees
1997 World Fantasy Award Nominees

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Review - Nova by Samuel R. Delany


Short review: Illyrion is expensive and hard to find, and the best place to find it is to dive into the heart of a dying star.

Haiku
Lorq von Ray, Prince Red
Vie to reach a dying star
Mouse plays his syrynx

Full review: Nova is the first Delany book I ever read, and remains my favorite work by him. It is a space opera written in an era when space operas had become unfashionable complete with space pirates, interstellar corporations, larger than life heroes and villains, and all the other trappings one normally associates with writers like Doc Smith.

But Nova turns out to be much more than that. Written just before a five year dry spell that ended when Delany produced Dahlgren and Stars in My Pocket Like Grains of Sand, Nova bridges the gap between the popular author Delany was, and the experimental author he would become. The story touches on the overt sexual themes of the later works with an implied aura of incest between the villain Prince Red and his sister Ruby with overtones of sexual and mental abuse thrown in. The book is one of the first science fiction works to feature an explicitly non-Caucasian protagonist (in the form of Lorq von Ray, of Norwegian and Senegalese descent, although Podkayne of Mars featured a biracial central character six years earlier), and a multiracial supporting cast. Through the book, Delany touches on issues such as worker alienation, cultural rootlessness and resulting stagnation, and followed Herbert's exploration in Dune of the politically corrupting influence of a single resource economy.

And yet the book hearkens back to the works of the golden age, in a manner that is almost certainly intended. The inventor of the "plug" system for controlling machinery is named Ashton Clark, similar to the name of author Clark Ashton Smith. The Foundation series is referenced with a throwaway line about Trantor, Dune is referenced with an assassination attempt using a poisoned tooth, and so on. While moving into an experimental area, Delany seems to be announcing his connection to the works that have gone before, perhaps an effort to declare his writing to be evolutionary, rather than revolutionary.

Between the examinations of the effects of making an interstellar community a collection of rootless itinerant laborers anchored by a racist and elitist Earth and a piratical Pleiadies, there is a wild story here, as Prince Red and Lorq von Ray race to be the first to recover the heavy metal Illyrion from a nova and as a result gain an unassailable competitive advantage in terraforming planets and powering spacecraft. Also woven into the story is the artistic dichotomy between the spontaneous gypsy Mouse (using what is probably one of the coolest instrument, and ultimately weapon, in science fiction), and the stodgy introspective Katin, who does little more than perpetually take notes in preparation for his planned novel. But the conflict between Lorq and Red is the primary story here, and it powers through the pages until its bitter conclusion.

Hearkening back to the golden age of science fiction, and heavily influencing what would become cyberpunk (Gibson consciously imitated some elements of Nova in Neuromancer) and pretty much everything else that came after it, this is simply one of the best books in the genre.

1969 Hugo Award Nominees

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Sunday, May 1, 2011

30 Days of Genre - What Genre Novel Do You Think Is Underrated?

So, I'm going to manage to do Day 3 of the 30 Days of Genre on time. I hope this is a trend.

Nova by Samuel R. Delany

Samuel R. Delany is an author who hasn't gotten the recognition he deserves, and of all his books, his space opera proto-cyberpunk novel of rival merchants battling for control of the commercial future of humanity is the one that gets the least recognition. Featuring a well-drawn protagonist in Lorq von Ray, a villainous antagonist in Prince Red, and his bizarrely weird sister Ruby Red, as well as the Mouse, Katin, the two-thirds of a set of triplets and others the novel examines cultural decay, worker alienation, the corruption of power, and of course, its main story: the idea that one can find the wealth of the universe in a dying star. The novel is at once space opera with a sweeping story about forces battling for control of the very galaxy, and has a gritty cyberpunkish feel. Despite the fact that this book is stunning in its brilliance, and has been described by some as the perfect science fiction novel, it is not particularly well known, and received only an indifferent response when it was first published. Nova (read review), like many of Delany's other excellent books, even went out of print for a while.


One thing about this particular question that made it a little difficult is that so many of Delany's novels are underrated. With the exception of Dhalgren, which almost every devoted science fiction fan knows about, and believes is a good book (although very few have actually read it), most of Delany's books are poorly known or unknown. As noted before, several of his books went out of print, despite the fact that he is clearly a huge influence on many of the science fiction authors that came after him, including most of the authors who wrote in the subgenre of cyberpunk.

Delany's career can be divided into two broad sections. In the first, in which he wrote books like Babel-17 and The Einstein Intersection, he was a fairly conventional science fiction author, although one who was very skilled and imaginative. At the age of twenty-five, he went on a five year hiatus in which he wrote almost nothing, and then he exploded with a barrage of output that was highlighted by his masterwork Dhalgren, and featured books with similarly overtly sexual themes like Triton and Stars in My Pocket Like Grains of Sand. Despite the fact that his early novels won back to back Nebula Awards and nominated for Hugo Awards, and his later novels are all breath-takingly brilliant, for some reason his work has faded into semi-obscurity. Nova, which was the last book produced during the first period of Delany's writing career before his five years of no writing. And though it was not given accolades like Babel-17 or The Einstein Intersection, it is Delany at the height of his powers, exploring so many varied topics in so many imaginative ways, that the fact that every person with even a slight interest in science fiction hasn't read this book is a crime.

Go to Day 2: Who Is Your Favorite Character?
Go to Day 4: What Is Your Guilty Pleasure Book?

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Saturday, April 30, 2011

30 Days of Genre - Who Is Your Favorite Character?

Once again, it took me longer to get to this than I wanted. Life is annoying and gets in the way. Anyway, Day 2 of the 30 Days of Genre:

Dominic Flandry, Agent of the Terran Empire


As with most of the questions for this meme, this one is difficult for me to answer because there are so many good possible choices. I have always been a huge Andre Norton fan, and many of her heroes share a lot of the same characteristics - independent-minded clever protagonists who are often traders or just ordinary people thrown into adventures and making their way by their wits. Of all the Andre Norton heroes, the most quintessential in my opinion would be Murdoc Zern who is the focal character in the two book series consisting of The Zero Stone and Uncharted Stars. But Zern, a free trader who acquires a mysterious gem and a strange alien companion before having to deal with commercial rivals, the threat of arrest by the Patrol, and the threat of death at the hands of religious fanatics and space pirates, is just one character of many among Norton's oeuvre. So Zern is more of a representative of a group of favorite characters than a favorite character by himself.


Another possibility I considered was Lorq von Ray, the central character in Samuel R. Delany's Nova. He's also a resourceful merchant living by his wits, although instead of being an almost rootless free trader he is the scion of one of the two most powerful mercantile families in the galaxy. But he has the added bonus of being involved in a bitter rivalry with Prince Red, the scion of the other powerful mercantile family, the end result of which will result in one or the other having effective control of humanity's future. And the audacity of Lorq von Ray is that his chosen path to victory against his rival is to adopt a strategy that involves flying directly into a star that is going nova (hence the title of the book). However, what makes Lorq so fascinating is probably the story he's in and not him as a character,


I could have picked another independent-minded merchant and go with Poul Anderson's recurring character Nicolas van Rijn - an irascible, hard-nosed, practical, trader featured in numerous books set in Anderson's Technic History including Trader to the Stars and The Man Who Counts. However, van Rijn is just a little too amoral to be my favorite. But considering van Rijn led me to Poul Anderson's other long-running recurring character Dominic Flandry, and everything crystalized. The ultimate interstellar agent is my favorite genre character.



Flandry is an agent of the Terran Empire and appears in the books Ensign Flandry, A Circus of Hells, The Rebel Worlds, A Knight of Ghosts and Shadows, A Stone in Heaven, The Game of Empire, Agent of the Terran Empire, and Flandry of Terra. Flandry, unlike the other candidates I considered, is not a merchant, but rather a spy. Like Zern, von Ray, and van Rijn he is a cunning and resourceful individual who survives by his wits. He's also dashing, ruthless, and self-interestedly heroic. Though his father is a minor nobleman in the Empire, Flandry is an illegitimate child and must rise on his own merits. Though Flandry knows the Terran Empire is doomed to fall at the end of its long struggle with the Merseain Empire, bringing on the "Long Night", he fights for it anyway hoping to stave off the collapse until after his own death. But by fighting against the coming of the night, he manages to make the lives of many who live in the Empire immeasurably better due to nothing more than his own self-interested actions.

One might describe Flandry as a James Bond type character moved to a space opera setting, but Flandry predates Bond. He shares with Bond a rakish charm, and a penchant for womanizing. Unlike Bond, he's not a clueless moron half the time. Anderson was also a better writer than Fleming, and was better at coming up with intrigues and mysteries. Because all great heroes need a foil, Anderson also created a long running antagonist for Flandry in the form of his Merseian counterpart Aycharaych a crafty and able opponent that Flandry is only able to overcome by adopting the tactics of his adversary and more, including blackmail, seduction, deception, and even the destruction of his own child. Despite these traits (or perhaps because of them), Dominic Flandry, a man struggling against a defeat he believes is inevitable, is my favorite genre character.

Go to Day 1: What Was Your Very First Genre Novel?
Go to Day 3: What Genre Novel Do You Think Is Underrated?

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Thursday, April 28, 2011

Follow Friday - Louis the Sixteenth


First off, I'm going to say this has been essentially a lost week for me. I started the week with big plans: finish and review A Game of Thrones, begin reviewing the episodes of the HBO Game of Thrones series, watch and review The Gamers,  put up a bunch of posts for the 30 Days of Genre, throw a post up on my other blog Playing in Other Worlds, and write up a post for The Arcane Hour. But between work, school, helping my daughter with her science project, and trying to mow the foot deep wet grass, and other exigencies of everyday life, exactly zero of that got done. I hope next week is better.

It's Friday again, which means it's time for Follow Friday. To join the fun and make now book blogger friends, just follow these simple rules:
  1. Follow the Follow My Book Blog Friday Host (Parajunkee) and any one else you want to follow on the list.
  2. Follow the Featured Blogger of the week - Marla at Starting the Next Chapter.
  3. Put your Blog name and URL in the Linky thing.
  4. Grab the button up there and place it in a post, this post is for people to find a place to say hi in your comments.
  5. Follow, follow, follow as many as you can, as many as you want, or just follow a few. The whole point is to make new friends and find new blogs. Also, don't just follow, comment and say hi. Another blogger might not know you are a new follower if you don't say "Hi".
  6. If someone comments and says they are following you, be a dear and follow back. Spread the love . . . and the followers.
  7. If you want to show the link list, just follow the link below the entries and copy and paste it within your post!
  8. If you're new to the Follow Friday Hop, comment and let me know, so I can stop by and check out your blog!
And now for the Follow Friday Question: Keeping with the dystopian and apocalypse theme that seems to be running rampant on parajunkee.com, I have one very hard question for you: If you were stocking your bomb shelter, what books would you HAVE to include if you only had space for ten?

This is a tough question for me. As of my last count, I had just over 5,800 books, so you can pretty much guess that narrowing this down to ten would be quite painful. But assuming that we are talking about fiction, and not books on agriculture, engineering, and practical skills to rebuild civilization, I'd need to bring (in no particular order):
Go to previous Follow Friday: The Ides of Fridays
Go to subsequent Follow Friday: Seventeen Is a Prime Number

Follow Friday     Home

Wednesday, April 27, 2011

2011 Clarke Award Nominees

Location: Sci-Fi London at the Apollo Piccadilly Circus in London, United Kingdom.

Comments: One of the most interesting things about the Clarke Award is that it honors works that are first published in the United Kingdom, regardless of the nationality of the author of the work. Many other "national" level awards are aimed at authors of a particular nationality. For example, the Ditmar Awards are only open to authors and other individuals who are from Australia. For the Clarke Award, the national origin of the author is unimportant, so in 2011 it could be won by South African author Lauren Beukes for her novel Zoo City.

Winner
Zoo City by Lauren Beukes

Shortlist
Declare by Tim Powers
The Dervish House by Ian McDonald
Generosity: An Enhancement by Richard Powers
Lightborn by Tricia Sullivan
Monsters of Men by Patrick Ness

What Are the Arthur C. Clarke Awards?

Go to previous year's nominees: 2010
Go to subsequent year's nominees: 2012

Book Award Reviews     Home

Saturday, April 23, 2011

Review - The Evolution of Fantasy Role-Playing Games by Michael J. Tresca


Short review: An academic look at fantasy gaming tracing its roots from Tolkien through wargaming, table-top role-playing, CRPGs, MUDs, MMORPGs, and LARPS.

Haiku
RPGs, MUDs, LARPs
And MMORPGs
All use Fellowships

Disclosure: I received this book as part of the LibraryThing Early Reviewers program. Some people think this may bias a reviewer so I am making sure to put this information up front. I don't think it biases my reviews, but I'll let others be the judge of that.

Full review: The Evolution of Fantasy Role Playing Games is an academic look at the development of fantasy role-playing across multiple gaming platforms from its earliest iteration as a variant on table-top wargaming, through pen and paper role playing games (RPGs), to computer role playing games (CRPGs), to multi-user dungeons (MUDs), live-action role-playing (LARPs), and massive multiplayer online role-playing games (MMORPGs). He even delves into the somewhat obscure topics of play-by-mail games and interactive fiction (such as the Choose Your Own Adventure books) As one might imagine, this is an enormously broad range of topics to cover over a fairly substantial period of time. In many ways, the book tries to cover too much, and as a result, is only able to give a fairly perfunctory examination of any one subject.

Tresca starts the book by introducing his primary theme: the idea of role-playing games as a vehicle for playing in the form of a "Fellowship", as described by J.R.R. Tolkien in The Fellowship of the Ring. The major theme of the book is identifying how roleplaying games built themselves upon the idea of a diversified team of individuals of differing backgrounds and disparate skills working together towards a common goal. And to this end, Tresca works his way through the full panoply of game types and assesses each in turn, devoting a chapter to each overall area. But because he devotes only ten to thirty pages of text to each topic, he is only able to cover the history and development of each one in a modestly superficial manner. For anyone who is a gamer already, the treatment given to these topics will probably be only moderately informative, covering material they probably mostly know, and for anyone who isn't a gamer the limited amount of material is likely to flash by so quickly that they won't be able to understand what arguments Tresca is making.

The book has a few other niggling problems. One is formatting, which I hope will be fixed in the final version: there are several references cited in the text, but they are merely cited by author and year, omitting the work that the reference cites to which is quite frustrating. The book also contains a fair number of pages discussing fantastical races and professions in role-playing games (heavily slanted towards the ones found in the Dungeons & Dragons game), which seemed to me like a poor use of the space. This section seemed somewhat unnecessary, and it meant that less space could be devoted to discussing the historical development of role-playing games. It seemed clear to me that Tresca was trying to support his Fellowship theory by including these descriptions to show how the differing roles players could take would complement one another, but the book is too short to fully explore this and give a historical overview of the development of gaming. Either the book should have focused on one or the other, or it needed to be substantially longer to cover such a broad range of topics.

One final weakness, which also turns out to be a strength of the book is the intensely personal nature of much of the experiences related by Tresca. Interspersed throughout the text are anecdotes about his personal gaming experiences or the gaming experiences of people he knows personally. Tresca also includes some fairly extended discussion concerning his experiences with RetroMUD, a MUD that he has participated in as a player and an administrator for several years. This adds a level of immediacy to the text without which might have been a dry and uninteresting experience to read. The drawback is that by relating these very idiosyncratic experiences, Tresca runs the risk of having the reader wonder exactly how generalized the applicability of his observations might be. After all, it is very interesting on a personal level that Tresca has spent many years helping keep a MUD going, but MUDs are fairly rare now, and even at the height of their popularity were not all that common a form of gaming. On the whole, this element enhances the effectiveness of the book, but it does come with some drawbacks.

But these moderate problems do not detract from the fact that the book identifies exactly why so many popular presentations of gaming so completely misrepresent it. By focusing on the element of collaborative play, Tresca has identified and explained the element that makes role-playing games different from so many other endeavors, and what makes them such a valuable experience for so many of the participants. In most popular fiction, where role-playing games are presented, they are usually presented as being turned into some sort of competitive sport - as an example, a scene in The X-Files in which a collection of D&D players were placing wagers on whether one of them could roll a natural twenty on his twenty-sided die - as if the writer could not imagine a game in which the players worked together towards a common goal. This is not to mention those somewhat deluded religious zealots who imagine that the players participate in order to derive some sort of occult prowess, once again the idea that people would play a game in order to work together collaboratively and for no other reason seems to be beyond the ken of non-players.

For anyone who is looking for a definitive history of the development of role-playing games, this book is likely to be a little bit of a disappointment. For anyone looking for a comprehensive treatment of the social aspects of role-playing games, this is also likely to be a bit of a disappointment. This book is neither of those things. It is a kind of hybrid that gives a rough outline of the history of role-playing games, and a brief glimpse of the social framework that these games engender. This book is more the first salvo in the effort to take on role-playing games as an academic subject, rather than the final word. As a launching point for a more complete treatment of either, this is an excellent beginning.

Michael J. Tresca     Book Reviews A-Z     Home