- 3 • Torque Control (Vector 273) • [Torque Control] • essay by Shana Worthen
- 4 • The Descendants of d’Artagnan: Alexandre Dumas and SFF • essay by Kari Sperring
- 7 • Diana Wynne Jones and the Oxfordshire Countryside in Power of Three • essay by Julia Cresswell
- 12 • Dialogue and Doomsday: Comedy and Conviction in Connie Willis and Oscar Wilde • essay by Gillian Polack
- 17 • The Volunteer, or Editing Vector and Beyond … • essay by David Wingrove
- 21 • Inside the V&A: Memory Palace • essay by Tom Hunter
- 22 • Gadget City by I O Evans • [Foundation Favourites] • essay by Andy Sawyer
- 24 • Meet the President! • [Kincaid in Short] • essay by Paul Kincaid
- 27 • Drilling for Oil in the North Sea • [Resonances] • essay by Stephen Baxter
- 31 • The BSFA Review (Vector 273) • [The BSFA Review] • essay by Martin Lewis
- 31 • Review of the graphic novel Savage: The Guv’nor by Pat Mills and Patrick Goddard • essay by Jonathan McCalmont
- 32 • Review: Stone Spring by Stephen Baxter • review by Niall Harrison
- 32 • Review: Bronze Summer by Stephen Baxter • review by Niall Harrison
- 32 • Review: Iron Winter by Stephen Baxter • review by Niall Harrison
- 34 • Review: Adam Robots by Adam Roberts • review by Dan Hartland
- 35 • Review: Jack Glass by Adam Roberts • review by Dave M. Roberts
- 35 • Review: The Soddit by Adam Roberts • review by David Hebblethwaite
- 36 • Review: Among Others by Jo Walton • review by Shaun Green
- 37 • Review: Wolfhound Century by Peter Higgins • review by Duncan Lawie
- 38 • Review: Communion Town by Sam Thompson • review by Mark Connorton
- 39 • Review: The Peacock Cloak by Chris Beckett • review by Martin McGrath
- 39 • Review: Solaris Rising 2: The New Solaris Book of Science Fiction by Ian Whates • review by Andy Sawyer
- 40 • Review: Existence by David Brin • review by Martin McGrath
- 41 • Review: 2312 by Kim Stanley Robinson • review by Gary S. Dalkin [as by Gary Dalkin]
- 41 • Review: Redshirts by John Scalzi • review by Liz Bourke
- 42 • Review: Nexus by Ramez Naam • review by Paul Graham Raven
- 43 • Review: The Curve of the Earth by Simon Morden • review by Stuart Carter
- 43 • Review: The Water Sign by C. S. Samulski • review by Karen Burnham
- 44 • Review: Dangerous Waters by Juliet E. McKenna • review by Patrick Mahon
- 44 • Review: Darkening Skies by Juliet E. McKenna • review by Patrick Mahon
- 45 • Review: The Legend of Eli Monpress by Rachel Aaron • review by A. P. Canavan
- 46 • Review: The Iron Wyrm Affair by Lilith Saintcrow • review by Graham Andrews
- 46 • Review: Hell Train by Christopher Fowler • review by Lalith Vipulananthan
- 47 • Review: Whispers Under Ground by Ben Aaronovitch • review by Anne F. Wilson
- 47 • Review: A Discovery of Witches by Deborah Harkness • review by Cherith Baldry
- 48 • Review: Railsea by China Miéville? • review by Liz Bourke
- 49 • Review: Dark Peak: The First Elemental by J. G. Parker • review by Sue Thomason
- 49 • Review: Sea Change by S. M. Wheeler • review by Mark Connorton
- 50 • Review: Zenn Scarlett by Christian Schoon • review by Alan Fraser
- 50 • Review: The Mad Scientist’s Daughter by Cassandra Rose Clarke • review by Anne F. Wilson
- 51 • Review: Boneshaker by Cherie Priest • review by Alan Fraser
- 51 • Review: Apollo’s Outcasts by Allen Steele • review by Ian Sales
No, I think it’s more about the way to do it. With Tolkien, as I said in the book, it was “Gosh, you can write a whole three-volume fantasy – this is marvellous, let’s do this thing.” With other influences like C.S. Lewis, the “how to do it” thing that grabbed me was that he was always so completely clear about what was happening. You are never in any doubt who is where, and doing what – and much more complicated things than that.Diane Wynne Jones
Certain topics ask for poetic treatment—love is one of them, and unrequited love in particular. Poetic writing is, through its intensity, writing that says more than it appears to say. Thus the love that dare not speak its name, in Lord Alfred Douglas’s words, lends itself to poetic treatment, in times when it focuses on an expressly forbidden topic. What we have here is, of course, essentially a literary structure: At its center is a guilty secret—and the guilt and the secrecy are both pivotal. The guilt and the secrecy creates a relationship between two persons, one who knows, and one who does not know. I suspect all writers, from time to time, can be drawn to that structure more or less strongly, whether the secret involves gay sex or not. But I suspect its hard to write a story using such a structure, possibly for its poetic potential, that is not going seem, to some readers, a coded gay tale—even to the surprise of the author; which I think may have been what happened here.Samuel R. Delany
But the fact is, none of the writing I did about that time—or during that time—gives a direct portrait of my sexual life back then. To repeat, this was three, four years before Stonewall. Back then you didn’t write about things like that, except in code. You left clues that people could—sometimes—read, between the lines. But it was actually dangerous to write about them. You could get in real trouble. You could get your friends in trouble. So you didn’t do it—not in journals, not in letters, not in fiction. A few brave souls, like Ned Rorum or Paul Goodman, were exceptions—and later on, I tried to fill in a few incidents myself. But basically, that wasn’t me.
I tell you this, because it’s important to remember, when considering fiction—like “Aye, and Gomorrah”— just how wide a gap can fall between life and literature—and how social pressures control that gap, so that, in looking at, say, the two award-winning stories of mine that deal with matters gay from the second half of the ’sixties, you have to realize they are finally fairy tales in the way my anecdote about the African medical student cruising the park and his friends is not—even though the Science Fiction Writers of America, who handed out the awards, doubtless felt that they were congratulating me for bringing a new level of “mature realism” to the genre, simply because I was dealing directly with something they thought of as sordid and probably wouldn’t have recognized it at all if I had presented it in any other way. Possibly, at that time, I wouldn’t have recognized it either.
For much the same reasons Nabokov says that Madame Bovary— famed at its time of publication for its realism, it even helped found the school of realism—is finally as much a dark fairy tale as “Jack and the Beanstock” and “Sleeping Beauty.”Samuel R. Delany
3 • Torque Control • editorial by Shana Worthen
4 • A Year in Review: Looking Back at 2010 • essay by Martin Lewis
5 • 2010: Books in Review • essay by Graham Andrews and Lynne Bispham and Mark Connorton and Gary Dalkin and Alan Fraser and Niall Harrison and David Hebblethwaite and Tony Keen and Paul Kincaid and Jonathan McCalmont and Martin McGrath and Anthony Nanson and Martin Potts and Paul Graham Raven and Ian Sales and Jim Steel and Martyn Taylor and Sandra Unnerman and Anne Wilson
15 • 2010: Television in Review • essay by Alison Page
20 • 2010 in Film: Not My Kind of Genre • essay by Jonathan McCalmont
24 • Strip Club: A Fanciful Flight • essay by Terry Martin
26 • The Promises and Pitfalls of a Christian Agenda in Stephen Lawhead’s Pendragon Cycle • essay by Anthony Nanson
30 • Scholars and Soldiers • [Foundation Favourites • 12] • essay by Andy Sawyer
32 • Alpha Centauri • [Resonances • 61] • essay by Stephen Baxter
34 • Kincaid in Short • [Kincaid in Short] • essay by Paul Kincaid
37 • Review: Finch by Jeff VanderMeer • review by Paul Graham Raven
38 • Review: Lightborn by Tricia Sullivan • review by Jonathan McCalmont
39 • Review: Surface Detail by Iain M. Banks • review by Marcus Flavin
40 • Review: The Technician by Neal Asher • review by Stuart Carter
40 • Review: Version 43 by Philip Palmer • review by David Hebblethwaite
41 • Review: How to Live Safely in a Science Fictional Universe by Charles Yu • review by Martin McGrath
41 • Review: Galileo’s Dream by Kim Stanley Robinson • review by Anthony Nanson
42 • Review: Music for Another World by Mark Harding • review by Dave M. Roberts
42 • Review: The Immersion Book of SF by Carmelo Rafala • review by Maureen Kincaid Speller
43 • Review: Zombie: An Anthology of the Undead by Christopher Golden • review by Colin B. Harvey [as by C. B. Harvey]
43 • Review: The Loving Dead by Amelia Beamer • review by Niall Harrison
44 • Review: Feed by Mira Grant • review by Alex Williams
44 • Review: Tomes of the Dead: Anno Mortis by Rebecca Levene • review by Shaun Green
45 • Review: Songs of the Dying Earth by Gardner Dozois and George R. R. Martin • review by L. J. Hurst
46 • Review: The Black Prism by Brent Weeks • review by Donna Scott
46 • Review: The Fallen Blade by Jon Courtenay Grimwood • review by Anne F. Wilson
47 • Review: Animal Alterity: Science Fiction and the Question of the Animal by Sherryl Vint • review by Gwyneth Jones
[Mary] Gentle’s prose is sharp, her powers of invention brilliant, her characters real, especially the greasy, obese Casaubon with his pet rat. They are not necessarily likeable. Casaubon is a Lord, and not on Our Side (there’s a neat scene where he’s confronted with the woman who does his laundry who has to live on far less than the cost of one single garment), and when Valentine re-appears a couple of novels down the line she does a dreadful and unforgivable thing. But, in the best tradition of the malcontents in the Jacobean drama, boy, are they vivid! This was a new thing.
For a time I used the word scholarpunk for this fusion of erudition and bad-ass attitude. Fortunately no-one noticed.Andy Sawyer
Nowhere was this tiredness more evident than in the lugubriously self-indulgent Iron Man 2. Jon Favreau’s Iron Man (2008) was something of an unexpected hit; its combination of clever casting and pseudo-political posturing caught the public’s imagination while its lighter tone and aspirational Californian setting served as a useful counterpoint to the doom and gloom of Christopher Nolan’s The Dark Knight (2008). However, the second Robert Downey Jr.’s Tony Stark steps on stage in the sequel, it is obvious that something is terribly wrong. The film’s onanistic triumphalism and bare-faced declaration that social ills are best confronted by private sector moral entrepreneurs feels astonishingly ugly and politically insensitive at a time when private sector entrepreneurs are having their companies propped-up at the expense of the poor and the hungry. The decision to cast Mickey Rourke as a shambling Russian baddy is laughably pretentious in a film that ultimately boils down to a bunch of computer-generated robots punching each other in the face for about an hour.Jonathan McCalmont
I found a Darwin site where a respondent asked “who else thinks Beatrix Potter may have developed her stories, about animals with increasingly human characteristics, from acquaintance with Darwin’s theory?” The idea that Beatrix Potter had to wait for The Origin Of Species before she thought of writing about reprobate foxes, trusting piglets, thieving magpies and insolent rats may seem ridiculous but this internetgeneration query is revealing. Our animal folklore is no longer refreshed by experience. In my own lifetime, here in the UK, the estrangement that began as soon as agriculture was established, has accelerated almost to vanishing point. We see animals as pets; as entertainment products we consume through the screen (where their fate, nowadays, holds a tragic fascination). We see them, perhaps, as an increasingly problematic food source. We no longer ‘meet their gaze’ as independent neighbours. The neo-Darwinists have even been doing their damnedest to break the link that Charles Darwin forged, when he transformed our deep intuition of continuity with the animal world into ‘scientific fact’.Gwyneth Jones
And was Karel Čapek really writing about newts?Gwyneth Jones
On the whole, however, Vint does a good job of disentangling “the animal” from the mix and Animal Alterity is an impressive achievement. A study of this kind isn’t meant to offer solutions and there are none (beyond a rather vague promise that post-humanism will blur the line between human and animal). Instead there’s a mass of evidence identifying sf as a resource: a treasury for Animal Studies academics; a rich means of bringing those moral arguments to life —drawn from an overlooked genre that has (always, already) developed sophisticated ways of thinking about looming problems that have only just occurred to the mainstream.
To the general reader, Animal Alterity offers food for thought and a quirky compendium of offbeat and classic titles. Could a “related book” on this topic become widely popular? I don’t know. In my day, sf fans tended to be petrol-headed meat-munchers, their concern for our stewardship of the ecosphere constrained by a passion for beer, mayhem and go-faster starships. Times have changed. The younger generation may feel very differently: I hope so.Gwyneth Jones
Fools’ Experiments by Edward M. Lerner (Tor, 2008)
Reviewed by Martin Lewis
Perhaps this is just an unfair prejudice of mine but as far as I’m concerned any book that uses sound effects is likely to be a bad book. In this case, at least, the cracks and thwocks and blats do indeed herald a writer with very little facility for the English language.
Edward M. Lerner is a traditional SF writer in that he is an engineer who knows a lot about S and not much about F. After ghostwriting a couple of Ringworld prequels for them, this is his first novel proper for Tor and only adds to my sense that something has gone badly wrong with their quality control of late. Fools’ Experiments is a tedious technothriller doled out in 71 bite-sized (but not particularly thrilling) chapters. Although it is divided into thirds, rather than this being a classic three act structure we have a false start, the actual plot and then a pointless retread of the middle third. The story chiefly concerns the emergence of artificial life but the structure of the novel is so broken backed that it is initially hard to tell where our attention is meant to be focussed.
In keeping with the strictures of the technothriller format there are lots of viewpoint characters but they are all drawn so crudely that you would never mistake them for actual human beings. The main characters are initially Doug, a researcher in neural interfaces, and AJ, a researcher in artificial life. In order to differentiate between them Lerner makes Doug a lover of bad puns. He also (since Hollywood has taught him it would be unthinkable to do otherwise) pairs both of them up with hot chicks. Unbelievably in the case of the overweight, middle aged AJ this involves bagging the attractive IT reporter who is interviewing him with the line “nor do I want to know ahead of time what our children will be like.” (143) These poorly realised characters only add to the sense of dislocation as they can disappear for sixty pages at a time whilst the narrative wanders elsewhere and other characters spring up in their place. Not surprisingly Lerner is better with machines than humans. The section where an artificial intelligence breaks free from AJ’s lab, causing devastating to the surrounding area, actually lives up to the genre’s name. Even this becomes interminable after a while though.
RUMIR is a very useful acronym that Karen Burnham invented from an old Joanna Russ review that described a work as “routine, unoriginal, mildly interesting, and readable”. In five letters it sums up vast swathes of published SF and it could, charitably, be applied to this novel. Fools’ Experiments is not bad because it is a catastrophic failure, it is bad simply because there is absolutely nothing good about it. In some ways this is even worse, at least with a catastrophe there is a perverse pleasure in seeing what abomination the writer will come up with next. This novel just inspires supreme indifference.
This review originally appeared in Vector #260.
Pretty Little Things To Fill Up The Void by Simon Logan (Prime, 2008)
Reviewed by Martin Lewis
Fade in across the Hackney skyline, sirens and the smell of Vietnamese food filling the air. Cut to a man in an overpriced flat reading a novel. Zoom in as his lip curls up in distaste on discovering it is written as a pseudo-shooting script.
Films aren’t books and an author who is a frustrated director usually makes for a frustrating reading experience. The directions are an infuriating affectation which is a shame because Logan is a good – albeit uneven – writer. One notional reason for his stylistic choice is the fact that one of the characters is a documentary maker but it is a pretty thin justification. The artifice extends as far as calling the chapters “scenes”. This grates as well but perhaps, given their slender length, it is right name for them.
Logan has previously published three short story collections and it initially shows in the rather fragmentary nature of his debut novel. (Or, as he irritatingly styles it, “n*vel”.) It chops rapidly back and forth between his cast of characters: Elisabeth, the aforementioned film-maker; Catalina, a teenage thrill seeker; Auguste and Camille, artists and lovers; and Shiva, a freelance terrorist. Of course, their lives are all intertwined and over the course of the novel they are pulled together for a transformative conclusion. It is much to his credit that this spiralling inwards seems natural and unforced, a grasp of structure that is unusual for a first time novelist. In fact Logan is good on all the fundamentals. For someone who clearly fancies himself as a prose stylist, most of his misfires, such as describing pylons as “fascist metal weeds”, come when he is striving to attain a level of industrial poetry. Instead it is his characters, and more specifically their interaction with each other, where his strength lies. It is the sixth character – the city itself – that makes the novel so confounding though.
These scenes are all set in a nameless, placeless and, most puzzlingly, timeless city. The novel is deliberately anachronistic and obsolete: characters use payphones, pagers, VCRs and joysticks. One character is referred to as having a “Soviet jaw line” and then later “jagged Soviet features”. Whatever this description means (and I am not sure) it seems likely that some of Logan’s prospective readership weren’t born until after the collapse of the Evil Empire. Pretty Little Things To Fill Up The Void clearly harks back to the early days of cyberpunk but it is too redundant even to be the future as envisaged in the Eighties. In fact, this is almost pre-cyberpunk and shares more in common with Hubert Selby Jr than with any current SF writers. It is clearly a conscious choice but I’m not sure exactly why or to what end. One thing is for certain; this isn’t science fiction but nor is it purely mimetic because is so strongly abstracted from the real world. The city is a sort of fantasy sinkhole, a playground for malcontents, and this robs it of its power.
This review originally appeared in Vector #256.
BSFA members should be receiving the latest issue of Vector this week:
Torque Control — editorial
No Easy Choices: Some Thoughts of an Adult Reading Children’s and Young Adult Science Fiction and Fantasy by Andrew M. Butler
Writing a Ruritania in a Post-Colonialist World by Farah Mendlesohn
Taking Control of the World: Kristin Cashore interviewed by Nic Clarke
Nicholas Fisk: Ten Short Novels by Niall Harrison
First Impressions — book reviewed edited by Martin Lewis
Resonances 59 by Stephen Baxter
Foundation’s Favourites: Catseye by Andre Norton by Andy Sawyer
Progressive Scan: The Sarah Jane Adventures by Abigail Nussbaum
I’m in Glasgow for most of this week, for work-related reasons, so posting is likely to be light; but I can at least catch up on my linking.
- Simon Pegg on why zombies shouldn’t run
- Nic Clarke on Temeraire by Naomi Novik
- Alastair Reynolds on The Quiet War by Paul McAuley
- The October Locus is online for your perusal; this issue includes among other things the first installment of Gardner Dozois’ short fiction column, which I have to say I found a little disappointing, a good long column by Rich Horton riffing on Elizabeth Bear’s suggestion that different generations of sf writer don’t read each other, and Graham Sleight on Ursula K. Le Guin
- Brian Francis Slattery discusses fantasy and magic realism
- The new Internet Review of SF has an article on silent SF movies, Nader Elhefnawy on The New Space Opera, and a bunch of other stuff.
- Reviews at Strange Horizons: Martin Lewis on The Knife of Never Letting Go, Roz Kaveney on The Middleman, Gene Melzack on Gareth L. Powell’s collection The Last Reef, and Gwyneth Jones on Blonde Roots by Bernadine Evaristo
- Sam Jordison’s Hugo-reading reaches A Canticle for Leibowitz, which he concludes is an important antecedent of The Road (ObLinks: one, two.)
- John Clute reviews The Ghost in Love by Jonathan Carroll
- Ian Sansom reviews Michel Faber’s new myth-of-Prometheus novella The Fire Gospel
- Shine: “a collection of near-future, optimistic SF stories”, to be edited by Jetse de Vries for Pyr Solaris.
- Paul Kincaid’s latest SF Sceptic column: Genre at the End of Time. And Paul reviews Greg Bear’s City at the End of Time at SF Site.
- Following up her review of Incandescence, Karen Burnham has some more thoughts about that book and characterization in sf
- And not sf-related, strictly speaking, but a fascinating review-essay by Zadie Smith comparing Joseph O’Neill’s Netherland and Tom McCarthy’s Remainder