Birthday Review: Territory, by Emma Bull

Birthday Review: Territory, by Emma Bull

a review by Rich Horton

I wrote this review for Fantasy Magazine when Emma Bull's (to date) last novel, Territory, was published, in 2007. Bull made -- and deserved -- a big splash when her first few novels (War for the Oaks, Falcon, Bone Dance, and Finder) came out, in the late '80s and early '90s. Since then she has written fairly little -- a collaboration with Steven Brust, one with her husband Will Shetterly, and contributions to the intriguing "web serial" Shadow Unit; plus this novel. I've enjoyed all her work, particularly Falcon, which is imperfectly constructed by which pushes all my buttons. 

Emma Bull is one of those writers about whom my main complaint is that they don’t write enough. Her last novel, Freedom and Necessity (with Stephen Brust) appeared fully a decade ago. So I was delighted to see Territory on bookstore shelves this summer.

This is a fantasy set in the Old West, indeed, in Tombstone, Arizona, in 1880, in the months leading up to the Gunfight at the OK Corral. Bull focuses on three characters. Mildred Benjamin is a young widow making an independent life for herself as a newspaperwoman and as a writer of early “pulp” Western stories. Jesse Fox is a horse trainer, previously from San Francisco, who has wandered into Tombstone on the way to Mexico – or so he thinks. And Doc Holliday – well, we know who Doc Holliday is: a dentist, a card player, a Southerner, and a friend of the controversial Wyatt Earp.

Through the eyes of these characters we learn the dicey political situation in Tombstone. Much of the trouble is centered on Wyatt Earp and his brothers. Wyatt wants to be Sheriff, but has no formal position. Virgil is City Marshal. And there no account brother Morgan is on the other side, more or less, and as the novel opens he has just participated in an attempted stagecoach robbery that left two people dead. Doc Holliday manages to create an alibi for Morgan, but in the process becomes a suspect himself. Over the next few months tensions rise between the townspeople, the Earps, and the cowboys, some of them rustlers, who live outside of town – people like the McLaury brothers, John Ringo (supposedly an ancestor of the SF writer of that name), and the Clantons. And the truth about the stage robbery becomes fuzzy as the main suspects all meet violent deaths before they can be arrested.

All this is for the most part historical record. What makes this story a story is the personal experience of the main characters. Mildred is the most engaging, the best depicted. As a woman, she has a different view of the conflict, especially once she befriends the Earps’ wives. And her budding career as a reporter gives her a still different angle. Jesse Fox, meanwhile, has his own secret, one he is loath to admit to himself. He can do magic. His friend Chow Lung, a Chinese doctor, urges him to accept his abilities. And in so doing, he realizes that there are other magic users in Tombstone – including very likely both Wyatt Earp and at least one of Earp’s enemies. Finally, Doc Holliday is probably the least well realized main character – perhaps because he is historical. His viewpoint serves mostly as an inside look at Wyatt Earp’s “camp”.

At this level the book follows Jesse’s arrival, his investigation, with Chow Lung, of the murder of a Chinese prostitute, and his subsequent realization that the girl was a victim of the political eddies in Tombstone. Meanwhile Mildred moves from typesetter to reporter at the Nugget as she gets interested in the nasty doings of a mining company. At the same time she is romantically drawn to both Tom McLaury and Jesse Fox. And her knowledge of the situation of the Earp women puts her squarely in the anti-Earp camp. Meanwhile Doc Holliday is trying to escape Earp’s orbit, urged by his common law wife Kate. But Earp’s hold – magical, perhaps? – seems to prove too strong.

The book is quite a delightful read. Mildred and Jesse are engaging protagonists, if, as I mentioned, Doc Holliday is a bit thinner. The fantastical element is modest but well-integrated and well portrayed. I had just one major issue: as the end approached, I realized that the remaining pages were not possibly enough to contain the actual gunfight. And, indeed, the book rather suddenly stops – at a not unreasonable point, with certain crucial information just revealed, but not, it turns out, at the end of the story. Yes – once again we have a book that is only Part 1 of a series (of only two books, I believe) – with absolutely no indication of this fact in the book, or on the cover, or anywhere unless you poke around the author’s web page. I will certainly be happy to read the conclusion to this story – but it would have been nice to know going in that Territory is only the first half. [That's what I wrote in 2007, but no sequel has eventuated -- perhaps none was ever planned.]

Old Non-Bestseller Review: Cheerful Weather for the Wedding/An Integrated Man, by Julia Strachey

Cheerful Weather for the Wedding/An Integrated Man, by Julia Strachey

a review by Rich Horton

Julia Strachey was born in India in 1901, the daughter of Oliver Strachey -- and Oliver Strachey, a civil servant, was also Lytton Strachey's older brother. They moved back to England 6 years later, and Strachey's young life was further ruffled by her parents' divorce a few years later. She became sort of multiply a kind of second generation Bloomsburyite -- not only was she Lytton Strachey's niece, but her father's second wife, Ray Costelloe (a mathematician/engineer and a major figure in the suffrage movement) was Virginia Woolf's sister-in-law (extended). She began writing occasional short stories, and in 1932 published a short novel, Cheerful Weather for the Wedding, that was very well-received at the time and has retained its reputation, having been reprinted as recently as 2009 by Persephone Books, and having been adapted (not terribly successfully, it would seem) into a film in 2012. She never did write regularly, it seems, and her only other novel appeared in 1951 as The Man on the Pier. It was reprinted along with Cheerful Weather For the Wedding in 1978, under Strachey's preferred title, An Integrated Man. Strachey died a year later; and a few years after that her lifelong friend Frances Partridge assembled the fragments of autobiography she had left behind with additional material by Partridge as Julia: A Portrait of Julia Strachey by Herself and Frances Partridge. (Frances Partridge, sometimes called "The Last of the Bloomsbury Set", was an interesting figure herself, living to just a few weeks short of her 104th birthday in 2004.)

So, a curiously sparse bibliography. Her stories (and some poetry) don't seem well-regarded, but her novels (especially the first) and the strange memoir are still remembered. I had not heard of her until recently, but the novels looked interesting, and writers of the first half of the 20th Century are always worth a look (for me), so I found a used copy of the 1978 Penguin omnibus of the two novels.

Cheerful Weather for the Wedding is really only novella length, perhaps 23,000 words. It takes place over just a few hours, on the day of the wedding of Dolly Thatcham to Owen Bigham. They are being married from the Thatchams' country house near Malton, which is a town that also features in An Integrated Man. (I suspect this Malton is not the real Malton in North Yorkshire, because this town seems close to the sea, while the real Malton is about 20 miles away from it.) There is not much in the way of plot (though over time some secrets do surface) -- the story is confined to the house, and to the actions of various family members, servants, and an ex-boyfriend of the bride. 

It's a satirical piece of writing, though in a more affectionate than cutting way. The various characters each get a look-in, enough that we know them a bit. Dolly seems perhaps a bit unsure of her coming nuptials, or perhaps just nervous ... she takes forever to get ready, and gets drunk in the process. Her sister Kitty is worried about being thought provincial and perhaps rather overcomplicated. Young Tom is furious at his younger brother Robert for insisting on wearing hideous socks, mostly because he's convinced a schoolmate will see them and the ridicule will be visited on Tom. Mrs. Thatcham is vague and rambling and insistent on the "cheerful weather" they are having for the wedding even though the day is windy and cold. And then there's Joseph, a former admirer of Dolly, who is pining and hiding from everyone else, hoping for an audience with Dolly. 

It's nicely done, funny, very well-observed. There is a secret lurking in the background, that is subtly hinted at, never stated but clear enough to the reader. It's a portrait of a certain pre-War English class, not necessarily obvious to Americans, I think ... I mean, they have servants! But they're not upper class.

An Integrated Man is a different sort of book. Much longer, for one thing -- 60,000 words or so. It also displays Strachey's close observation, a real gift for interesting description of largely mundane things. It's set in the country, at Flitchcombe Manor, the home of Ned Moon's friend Reamur. Ned is the viewpoint character, the "integrated man" of the title, for so he declares himself at the open, a man of about 40, fully satisfied with his life, happy, and eagerly approaching his next challenge, a school he is opening with his friend Aron. He and Aron are spending a few weeks with Reamur and Reamur's wife Gwen; using the the time to finish preparations for the schoole, whilst Ned also tutors Reamur and Gwen's son Co-Co. The house party is soon to be expanded when Aron's wife Marina and their daughter Violet arrive. And for the first third of so of the book nothing in particular happens -- we just see Ned going about his normal days, and we get a sense of Ned's character, and a look at the environs of Flitchcombe Manor and the nearby villages. This works oddly well, mostly because of Strachey's excellent eye for detailed descriptons of small things.

The other shoe drops when Marina shows up. For, somewhat mysteriously, Ned decides that he is in lust with her. Indeed, that he must "have" her. And so while similar things happen to what happened for the first 60 pages -- walks across the countryside, group conversations, shopping at the village -- these things are all filtered through Ned's haze of lust. All this time Ned is trying to avoid detection, and often avoiding the rest of the party entirely. A bit to the reader's surprise, after some time Marina makes some little hints that she is interested in Ned as well.

So the conclusion comes -- the end of summer is near, school ready to start, and the house party will be breaking up. Ned and Marina awkwardly make an arrangement for him to come up to London for a couple of days, while Aron is setting things up at school. All Ned's desires are ready to be satisfied ...

The resolution, then, is (as we perhaps expect) painful and embarrassing. Ned comes to realize that it is his friend and business partner, Aron, whom he will betray -- and for a woman that he lusts after but doesn't seem to much like. Ned is forced to hurt Marina terribly, and to leave himself frustrated. And to realize that he is perhaps really not such an "integrated man". 

I'm not sure how much I really liked this. I thought it was in many ways well done. I did believe in Ned -- of Marina and the others we get a much less full picture. And Ned's actions are, well, in the end proper (now as much as they were in 1936 when the book is set) though of course he should have acted (or not acted!) much earlier. As I've said, Strachey's paragraph by paragraph writing is strong, and her powers of description impressive. This book has moments of comedy, but it's not generally comic in the way Cheerful Weather for the Wedding is; and I suppose I felt that in the end the book was just a bit thin. But I'm not sorry to have read it; and I do think Strachey, though of course a very minor writer, still a writer worth continued attention.

Birthday Review: The Gifts of the Child Christ and other stories, by George MacDonald

I realized that it has been over a month since I posted on this blog. There are Reasons, of course (mostly 2020 reasons), but that's too long. So I figured I would post a birthday review today -- this one is something rather short I wrote about 20 years ago. (I hope to have "non-bestseller review" of a 20th Century woman writer, Julia Strachey, in a day or two.)

George MacDonald was one of the greatest, perhaps the greatest, 19th Century fantasist, a mentor to Samuel Dodgson (Lewis Carroll) and a key influence on C. S. Lewis. He was born on 10 December 1824, and died in 1905. He grew up in the Congregationalist church and become a minister, but eventually lost his job partly because of his somewhat unconventional theological views. I had thought he was a Unitarian (inside joke: from the period before Unitarians became lovers of Mary Oliver's poetry), but now I can't find that he ever officially left the Congregationalist denomination -- that said, his theology seems to me more in tune with 19th century Unitarian/Universalist thinking. (It should be noted that the formal Unitarian church (at least in the US) was founded as a result of schism with the Congregationalists.) He moved to the Italian Riviera in the 1870s and did much of his writing there. Much of McDonald's fiction was essentially religious. I am particularly fond of his children's novels, At the Back of the North Wind, The Princess and the Goblin, and The Princess and Curdie. He also wrote adult novels, most importantly Phantastes and Lilith.

He also wrote a lot of shorter fiction. The Gifts of the Child Christ and Other Stories, a collection of much of the best of his shorter works (selected by Glenn Edward Sadler). These include a couple of stories I have read before in solo editions: The Light Princess a very funny story about a princess with no gravity, either of spirit or physically; and The Golden Key, a lovely symbolic story about a boy and a girl and their long journey together. (My reviews of those two books can be found here.) Other highlights are The Wise Woman, or The Lost Princess, a long story (35,000 words or so) about a spoiled princess and a spoiled shepherd's child and the efforts of an old wise woman to reform them; the title story, about how the daughter of a too serious man and his neglected young wife brings them together after their younger child is stillborn; "The Carasoyn" (or "The Fairy Fleet"), about a young man and his less than enjoyable involvement with a group of fairies and their queen; "The History of Photogen and Nycteris" (or "The Day Boy and the Night Girl"), about two babies kidnapped by an evil fairy, the boy brought up only in daylight, the girl only in darkness; and "The Cruel Painter" is a fine story about a painter who insisted on distorting his scenes to bring out the worst in their subjects, and the young man who falls in love with his daughter and comes to work as his apprentice.

There are quite a few more stories, most quite interesting, roughly evenly divided between fairy tales or fantasies and contemporary tales. Only very rarely does MacDonald moralize to the detriment of his stories, though his stories do quite often make moral points. (And quite explicitly Christian points.) Sadler has also selected quite a few period illustrations, many by Arthur Hughes, many from the original publications of the stories. 

Birthday Review: Stories (and capsule novel reviews) of R. A. Lafferty

 R. A. Lafferty (1914-2002) was one of the most individual of SF writers. He began publishing in his mid 40s, with much of his early work appearing in Pohl’s magazines (Galaxy and If). His primary mode was the “tall tale”, and he attracted attention with the stories that appeared in his first collection, Nine Hundred Grandmothers, and then with his early novels, such as Past Master, Fourth Mansions, and The Devil is Dead. He appeared regularly in magazine and anthologies for a couple of decades, after which his work, which had either outworn its popular welcome or become too individual for a wide audience, mostly appeared in small press publications. I enjoyed a great many of his short stories, though I tended to find his novels a bit uneven, or a lot uneven.

Below are reviews of a few Lafferty stories I've reread recently in old magazine or anthologies, plus very short capsule reviews of two early novels.

If, September 1960

And finally, far and away the best story in this issue is Lafferty's "The Six Fingers of Time". I didn't recall the story though I've surely read it before: it was in Nine Hundred Grandfathers as well as a couple more anthologies. I would venture to say that it is the first really significant story Lafferty published. I liked it a great deal.

It opens with Charles Vincent waking up and discovering that time has nearly stopped for him. At first this is a source of puzzlement, then concern. But he does get caught up at work! Later he uses his advantage to pull silly tricks like undoing women's clothes (reminding me of Nicholson Baker's novel The Fermata). Eventually he learns a modicum of control over his power, and is approached by a shady man who seems to have much greater abilities in this area, and who talks of a link to extradigitalism (Vincent has a partial extra thumb). The end of the story is strong and mysterious, with references to the "smell of the pit", and a chance at much greater power -- but at what cost? And, of course, an eventual inevitable ending. Quite a fine piece of work.

Galaxy, April 1961

“All the People” is a very early Lafferty story. The voice is familiar, if not fully developed. The story is pretty good, if a bit more traditional than usual for Lafferty. It's about a person cruelly called “Tony the Tin Man”, he thinks because his father was a junk dealer. But in reality he's a “restricted person”, a cyborg attached to a computer, able to sense the feelings of all the people in the world, and so to detect if any are unexpected – perhaps invading aliens. And how would a “restricted person” react to an invasion?

Galaxy, August 1961

"Aloys" is a shortish Lafferty piece, decent and fairly characteristic work. The hero is a spectacular scientist, but naïve and poor and obscure, and when he is given an award he is subverted by a typically Laffertian secret society. It's best for its portrayal of Aloys himself. 

The Reefs of Earth

(Cover by Richard Powers)

The Reefs of Earth is an early R. A. Lafferty novel.  This is the first Lafferty I've read since reading Flann O'Brian, and I was struck by a certain resemblance.  I don't know if this is just some value of common Irish storytelling tradition, or if there is some direct influence.  This story tells of an extended family of alien "Pucas", marooned on the "Reefs of Earth", and how the children plot to avenge their parents.  Madly readable, but it doesn't really come off.  For one thing, almost all the characters are really quite unpleasant (by design, for sure).  And the cockeyed narrative logic, interesting by fits and starts, is just annoying on occasion.

Fourth Mansions

(Cover by Leo and Diane Dillon)

For all I'm reading lots of 1999 books, I'm trying not to neglect the past. I'd never read R. A. Lafferty's Fourth Mansions before, one of his best known novels.  It's a wild book, which shouldn't surprise anyone who has read Lafferty.  It's about a young newspaperman who stumbles on a multi-faceted plot to rule the world, involving "people" who live for many centuries, occasionally emerging to foil the hopes of normal humans, and another group of people who have learned how to psychically merge into a new sort of being, but who don't know how to use this power for good, and further people like the "patricks", who are vaguely supposed to be on the good side, I think. The newspaperman is pursued and hounded by several of these forces, and put in the madhouse, and so on.  Another young man gains certain powers and tries to overturn civilization for apparently good reasons.  It's all unstructured as heck, and sometimes boring, but sometimes weirdly fascinating, very original, quite ambitious in theme; and in the end just barely a success on its unique terms.  

New Dimensions II

“Eurema’s Dam” is in the “tall tale” dimension. Eurema is a Greek word that means, roughly, “invention”, so the title means, “mother of invention”, and the theme is, more or less, “stupidity is the mother of invention”. The hero is Albert, “the last of the dolts”. Because he isn’t smart enough to do anything himself, he keeps inventing machines to do things for him. Of course, it turns out that those machines are useful for lots of other people as well. So Albert gets rich. But he doesn’t really care about that. And what really ends up bothering him is that the machines he creates think he’s a dolt, too, and when they take over … well, you see where it’s going. It’s a fun enough story, but it doesn’t have the true inspiration, the magic, that I find in his best stories.

Odyssey, Summer 1976

And Lafferty's story, "Love Affair with Ten Thousand Springs", is pretty characteristic of him, about a man who loves springs and their "pegeids" (analogous to naiads). They are all imperfect, and the pegeid at the center of this story turns out to be imperfect in a scary way. Plenty of linguistic invention and verve, but probably a bit too long, too rambling. Minor Lafferty, really.

Belated Birthday Review: Stories of Gordon R. Dickson

 Gordon R. Dickson was born November 1st, 1923, so his 97th birthday was a few days ago. I realized I hadn't ever done one of these short fiction review assemblages for him before (I did review his Ace Double The Genetic General/Time to Teleport), and so I put together a collection of all the short fiction I'd happened to write about when discussing old SF magazines. Then I remembered that the cover story of the very first SF magazine I ever bought, the August 1974 Analog, was by Dickson, and I figured I should write about that too! But that required some excavation in my boxes of old Analogs, and thus this birthday review is a bit late!

Astounding, February 1952

"Steel Brother" may have been the first solo Gordon Dickson story to make a lasting impact. It's about a Solar System Frontier Guard, Thomas Jordan. The Frontier Guards man a somewhat implausible series of station at the edge of the Solar System, which each control a phalanx of robot ships that attack the aliens that periodically try to invade. Thomas Jordan has just taken his first command, and he's convinced he's a coward. He's also afraid of the implanted connection to the stored memories of all his predecessors (the "steel brother"): he's heard stories of people losing their identity and being overwhelmed by the memories. So when his first attack comes, he funks it, and almost lets the alien ships through, until he finally allows the "steel brother" to help -- and learns a lesson about, well, comradeship. There's a typically Dicksonian ambition, and a sort of ponderousness, to the story -- which nonetheless didn't really work for me, it seemed strained.

Universe, December 1953

The other novelette is also light comedy: "The Adventure of the Misplaced Hound" (9200 words), one of Poul Anderson and Gordon R. Dickson's Hoka stories. I've never been as big a fan of the Hoka stories as many readers, though I think to some extent I burden the entire series with my dislike of the one late novel, Star Prince Charlie, which I think was quite poor. This story is decent enough, though not really great. The Hokas, of course, are teddy bear like aliens who love to imitate fictional models -- in this story, obviously, they are imitating Sherlock Holmes. Much to the distress of a human IBI agent who is tracking down a nasty alien drug runner who has chosen to hide near the Hoka equivalent of the Baskerville mansion.

Galaxy, January 1954

The novelets are Gordon R. Dickson's "Lulungomeena" (6500 words), and Winston Marks's "Backlash" (8800 words). "Lulungomeena" is a story that is mostly OK but that relies on a contrived and annoying trick ending. It's about an old spacer, about to retire, and a young kid who is bored by the old man's tales of his home, Lulungomeena, and frustrated by the old man's claim to have once been a ready gambler, who gave up the habit. The kid wants to get a chance at the old man's savings, and also to shut him up. He finally baits the older man into a large bet ... and then the trick ending. One interesting detail is that the story is narrated by another older spaceman, who identifies himself as a Dorsai. The earliest story Miller/Contento list as part of the Childe Cycle is "Act of Creation" (Satellite, April 1957). This one seems at least linked (or perhaps part of a beta version of some sort).

Orbit, July-August 1954

"Fellow of the Bees", by Gordon R. Dickson (7700 words) -- very slight but modestly entertaining. A somewhat implausibly vicious Empire comes to a remote planet to press gang crewmembers for their space navy. Most implausibly of all, they plan to press gang EVERY adult between about 20 and 60! The day is saved by the good fortune that the politically appointed admiral of the fleet is a bee lover, and by some implausibly brilliant space navy tactics masterminded by an old lady using the planet's merchant fleet.

Venture, March 1957

“Friend’s Best Man” is a Gordon Dickson sociological set-up story … really a very Campbellian sort of thing. A rich man comes to an isolated frontier planet to meet an old friend, and learns that the friend has been murdered by a local nogoodnik. And that despite the dead man being universally popular, and the nogoodnik largely reviled, and the facts of the case not being in dispute, nothing is being done about it. The reason soon becomes obvious – the planet is labor-starved, and they can’t afford to lose the work done by the bad guy. The only solution is for the rich visitor to replace him – then justice can be done, and the bad guy punished. But will the rich guy have the balls to give up his easy life for the hard work of a frontier planet? Dickson is here straining to make a point, a point that frankly I don’t believe for a second. The strains of the setup show, and there is no examination of the ultimate stresses – and resulting loss of productivity – that such a system would cause. 

Astounding, December 1957

The other story that presents the humans are inherently superior idea, much more explicitly, is Dickson's "Danger -- Human!". (Silverberg's story, to give it its due, doesn't really suppose that humans are inherently superior, just that some sort of local historical accident has resulted in humanity being ahead of the nearby aliens in development.) In "Danger -- Human!" an alien group is monitoring Earth. It seems that humans are the descendents of a race that two or three times before has risen from obscurity to dominate the Galaxy, not to the benefit of the rest of the intelligent races. One of the monitoring guys decides to kidnap an human, a New Hampshire farmer, to study him and figure out if humans are still dangerous. Bad idea ... (as we could guess immediately). The main problem is that the human superiority is essentially asserted, not proven, unless we are to conclude from a final revelation (unless I misunderstood it) that the guy broke through an impenetrable field of some sort that humans have psi powers. (Which would really make the story stupid.)

Analog, August 1974

This is the first SF magazine I ever bought, from the newsstand at Alton Drugs in Naperville, IL, sometime in July of 1974. I'd been reading SF from the library with great dedication for a couple of years by then, and reading anthologies like The Science Fiction Hall of Fame and the Nebula Award Stories collections had shown me that there were magazines that published the stuff.

That day there were three magazines next to each other, the August issues of Analog, Galaxy, and F&SF. I bought the Analog first because it still had a certain reputation in my mind -- derived mostly from Campbell's 1940s "Golden Age". (I also liked the John Schoenherr cover.) I read through it quickly, and the next day I bought Galaxy, and the day after I bought F&SF.

The cover story is "Enter a Pilgrim", by Gordon R. Dickson. It tells of Shane Evert, a young man who works as a translator for the alien ruler of Earth -- Earth having been conquered three years before by the huge and technologically superior Aalaag. Shane dreams of some hero leading a resistance to the Aalaag, but on this day he witness the brutal execution of a man who had defended his wife from a careless young Aalaag. Later, a bit drunk, Shane is accosted by three human outlaws, but easily kills them all -- and in the mixture of shame and triumph he feels, something clicks, and the takes what (I can tell) will be the first steps of resistance to the Aalaag. Even at 14 I could see that this was not a complete story -- and indeed, three more stories followed (two in Analog, one in the anthology/magazine Far Frontiers), and they were fixed up into a novel, Way of the Pilgrim (1987). This took a surprisingly long time -- the other stories didn't appear until 1980 and 1985, and I never actually have read the novel, though I'm fairly sure I know the basic plot!

(That August 1974 Galaxy also features a story that is basically an appendage to a novel -- Ursula K. Le Guin's "The Day Before the Revolution", which to be fair isn't part of The Dispossessed, and works fine by itself. And I should note that Lester Del Rey picked the Dickson story for his Best of the Year volume.)

Cosmos, July 1977

"Monad Gestalt", Dickson's novella, is actually part of his novel Time Storm. It reads very much like a novel excerpt -- it's not very successful standing alone. The central idea of Time Storm is neat enough -- Earth (and, it turns out, the whole universe) is divided by "windwalls" into different times -- if you pass through a wall (which may be stationary or moving) you will end up in the same geographical location but at another time. Our hero (the first person narrator) is leading a group of people, including a few violent toughs, a scientifically-oriented man, a teenaged girl, a woman named Marie with a four year old daughter, and a tame leopard. The narrator has claimed Marie as "his woman" but doesn't love her. The teenager is attracting the attention of the leader of the toughs, a man named Tek. The group is trying to find a spot in the future that might hold a clue to the origin of the time storm. Indeed, they do eventually find a deserted future city -- deserted but for one inhabitant, an "avatar" of an alien intelligence. Guided by the alien plus a lot of totally ridiculous mumbo-jumbo, our hero finds another location with a sort of computer/gestalt connection, which will allow him to link with the other minds in his group and become a sort of supermind, able to deflect the time storm at least locally.

Faugh! Dickson sets up an intriguing premise in the time storm and resolves it with authorial fiat. (And stupid coincidence -- the narrator needs exactly eight people in his "gestalt" to gain full power. But there are only seven adults in his group. Not to worry -- the four year old can be combined with a genetically engineered ape that just happens to be nearby to provide slot number 8!) Add a very creepy romance that doesn't even have any emotional force -- the narrator all of a sudden just realizes that he wants the teenaged (young teenaged -- not much older than 14) girl for his own. To be fair, some of the problems I had with this story may well be the result of abridgement to novella length -- the full novel might allow more convincing development of some of these things.

Review: H. M. S. Surprise, by Patrick O'Brian

 I really thought I had posted this to my blog long ago, but apparently not. O'Brian's birthday isn't until December, but what the heck, these are great books, I'm posting this now. I wrote this review, of the third novel in Patrick O'Brian's incomparable Aubrey-Maturin series of naval novels back in 1997. H. M. S. Surprise is still probably my favorite of all the series, though all 20 books are completely worth reading. 

Review Date: 28 December 1997

H.M.S. Surprise, by Patrick O'Brian

First published in 1973

In praising Patrick O'Brian's Aubrey-Maturin books I am on well-trodden ground. In a sense, it is superfluous to do so: so many people, of such varied and excellent taste, have praised these books to the skies that further lauds from the modest likes of me are hardly necessary. Nonetheless, it gives me pleasure to express my delight in books I enjoy, so: onward.

I began reading the Aubrey-Maturin books with Master and Commander, first in the series, just two months ago [back in 1997]. I have decided on a ration of one per month, so this month (December) I read H.M.S. Surprise, third in the series. So far, this is probably the best of the series, though as with other excellent series of books, it can be difficult to pick favorites: the joys are ongoing, and to some extent a result of the cumulative pleasures of the books, and each book has high points and low, leisurely strolls and heart-stopping battle scenes, love scenes, political wrangling, sailing jargon, and much more.

To briefly recap the first two books (I hope without excessive spoilers): Master and Commander introduces Jack Aubrey, a British ship captain, to Stephen Maturin, an Irish-Catalan naturalist/physician. Maturin is at loose ends financially, and Aubrey needs a ship surgeon for his new command, so what swiftly becomes a remarkable friendship is formed. The first book is set in 1801, and follows the doings of Jack's ship, the Sophie, in the Mediterranean during this phase of the Napoleonic wars. There are some ship battles, which are well done but not essential to the enjoyment of the book, but in general the book is a bit episodic in structure. Maturin is introduced to the sea, and becomes fixed as a ship's surgeon; Aubrey has some notable successes, which bid fair to set him up for life financially.

In Post Captain love interests are introduced for both Jack and Stephen: Jack becomes (after much travail) engaged to the beautiful and respectable Sophie Williams, and Stephen becomes involved with Sophie's widowed cousin, Diana Villiers, also beautiful but decidedly less respectable (in early 19th Century terms). In addition, Jack falls disastrously in debt, due to the criminality of his prize agent, and spends much of the novel evading debtor's prison. Stephen is revealed to the reader as a British spy and a fierce supporter of Catalan independence. The war with France breaks out again, and after a thrilling escape from France, Jack is given command of an experimental ship, the Polychrest, and despite its flaws leads a successful raid, gaining promotion to Post Captain (which appears to put him on some sort of "tenure track" in the Royal Navy). Still needing to be on ship (to stay out of reach of his creditors), Jack accepts a temporary position on the H. M. S. Lively, and with some other captains, captures a magnificent prize from the French. His financial future again appears secure.

So we come to H.M.S. Surprise. Political machinations cost Jack his prize money, and Stephen's cover in Spain is blown. As a result, and also because Stephen is scheming to see Diana again (who has been taken by her keeper, the Jewish merchant Richard Canning, to India), Jack takes command of the aged frigate H.M.S. Surprise, and is sent to Cambodia (stopping in India) to deliver the new British envoy to the Sultan of Kampong.

Thus the setup for a long, wonderful, account of the voyage to the Orient and back. The pleasures of this book are remarkably varied: high comedy, such as the famous drunken sloth incident; high adventure, as the men of the Surprise battle not only the South Atlantic at its fiercest, but also the French; and bitter disappointment and even tragedy, in Stephen's seesaw relationship with Diana, as well as Stephen's involvement with a young Indian girl. Indeed the plot of this novel is much the most complicated and well-constructed of the three O'Brian novels I've read.

The pleasures of this book, however, are not restricted to a fine plot. The ongoing development of the characters of Jack and Stephen, and of their complex and fully described friendship, continues to be a major achievement. In addition, the many minor characters are fascinating: the envoy Mr. Stanhope, Stephen's Indian friend, the various ship's officers and men, other ship captains, and so on. And O'Brian's depiction of the building of an effective crew, the relationship of captain to officers to men, is another fascinating detail, and something he revisits from book to book, as Jack encounters different crews in different circumstances. Finally, O'Brian is a fine writer of prose, with a faintly old-fashioned style, well poised to evoke the atmosphere of the time of which he writes to readers of our time, and consistently quotable, in his dry fashion.

One arguable weakness of these books in general is related to the fact that they are an ongoing series. This results in certain formulaic constraints: Jack and Stephen may be in great danger, but we can be sure that they won't die. Also, the books so far follow a similar pattern: Jack begins each book in financial distress (and the opening of the second and third books describe the reasons for his financial problems: in neither case are they his fault), and by the end is financially well set up. Also somewhat formulaic is the heroic nature of the two main protagonists: Jack is a truly brilliant seaman, and Stephen is a brilliant scientist and doctor. But these weaknesses are not important to enjoyment of the books: in particular, though Jack and Stephen are heroic in certain aspects of their characters, they are both multi-faceted characters, with terrible flaws and endearing crotchets in addition to their accomplishments. And they truly come across to this reader as characters of their time, and not 20th Century people cast back into the past. Even Stephen's very contemporary racial and religious attitudes are well-motivated by his background, and expressed in language which reeks wonderfully of his time: "Stuff. I have the greatest esteem for Jews, if anyone can speak of a heterogeneous great body of men in such a meaningless, illiberal way."

I recommend these books highly. It is with great difficulty that I restrain myself, upon finishing each book, from immediately starting in on the next one, though so far my one per month discipline has prevailed. I look forward eagerly to another year and a half or so of pleasure as I continue this series.

Review: The Iron Dragon's Mother, by Michael Swanwick

The Iron Dragon's Mother, by Michael Swanwick

a review by Rich Horton

This is Michael Swanwick's third novel set in this particular world, an industrialized version of Faerie. The first was The Iron Dragon's Daughter (1993), which, Swanwick has said (to the book group I'm in for one!) was not intended to have any follow-ons. But when asked for a dragon story for an anthology, he ended up with an idea for another story set in the world of The Iron Dragon's Daughter, "King Dragon" (in The Dragon Quintet), which became the seed for the novel The Dragons of Babel (2008). And last year, The Iron Dragon's Mother appeared. I should note, first, that while I've read a novella extracted from The Iron Dragon's Daughter, I have not yet read that book. I did read, and loved, The Dragons of Babel. All three novels are complete in themselves -- apparently a character or two from each book also shows up in another of them, but the action of each is entirely comprehensible without knowing the others.

I considered outlining the plot of this novel briefly, and quickly realized how unsatisfactory that would be. There is a plot, mind you, a well-constructed plot, with plenty of incident and adventure, essentially concerning a young woman, half-human, half-elven, who is railroaded out of her job, as a dragon pilot, at the same time her father dies and her brother, his heir, runs away. Her goal is to find her brother and prove her innocence. All this drives the action, but what drives the novel is character and language and story. 

Characters? Caitlin, of course, the half-breed daughter of the House Sans Merci who thought she was a faithful and accomplished member of the Air Force until she was betrayed. Helen V., the human woman who at the moment of her death jumps from our world to Caitlin's mind. Fingolfinrhod, Caitlin's feckless but loyal brother. Fata Narcisse, surgeon to the Lord of the Rails, charged to keep the living trains in action. Esme, the lucky girl who attaches herself to Caitlin, who is older than anyone else. Edderkopp, the spidery lawyer. Raven, who becomes Caitlin's not fully trustworthy friend. 

(Note -- there's no lover in this mix. Caitlin's virginity is an important aspect -- for reasons that don't really match traditional reasons. And, yes, this book pretty easily aces the Bechdel test.)

Language? One of the tricks of fantasy is to balance the expectations of matching your language to the fantastical milieu with the expectations of contemporary readers (i.e. prose in a register they are familiar with.) (See Ursula K. Le Guin's famous essay "From Elfland to Poughkeepsie".) Swanwick here master both registers -- when an invocation of High Fantasie is required, it's there. But more often he is undermining such invocations with comic -- indeed vulgar -- descriptions. And this can be very funny, but better than that, it rings true.

Story? The novel is interlarded with explicit stories, of recent history and distant history, of the childhoods of the characters, of people explaining themselves ... some of these are lies, and all them are true. Of course, one of the main characters (Helen V.) is by profession a story-teller -- and perhaps she's not quite sure she's ever escaped being in a story. A story that must end. And, in a way, this story is about making a version (a distorted version?) of our world play a part in pure story, pure fantasy.

I don't think I've come close to doing this book justice. But I can say that I loved reading it, and that it deserves as wide a readership as it can get.