L’orbe écarlate de Flamboyance, plus généralément désignée aujourd’hui sous le nom de Sphère de Rubicon, possède une étonnante épaisseur, nécessitant plusieurs jours avant d’atteindre les Confins du système atypique. Plusieurs passages permanents existent, baptisés en hommage aux premiers héros et héroïnes olanriens et permettent à une faune importante de transiter de l’Espace sauvage vers le Phlogiston.
La face intérieure de cette Sphère dégage une chaleur intense et se voit nimbée d’amas de gaz volatiles s’embrasant régulièrement pour illuminer les cieux des mondes de Rubicon. Un très grand nombre d’étoiles restent immobiles dans le Vide, comme autant de minuscules soleils rougeoyant, et servent de repères pour les navigateurs. Leur nombre contraint cependant les nefs spatiomantiques à immédiatement adopter de plus prudentes distances dès leur entrée dans le système, les collisions avec ces astres n’étant pas rares.
Magdalène est le nom du soleil rouge de cette Sphère, il orbite à l’extérieur du…
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Read for the Vernon Library Summer Reading Challenge.
I have been a Patrick O’Brain fan for some time, so I was perhaps primed to appreciate this book more than I otherwise might have been. But the exploits of Captain “Lucky” Jack Aubrey and Dr. Stephen Maturin, who seem a very unlikely pair of friends, are among my favourites. In Canada it seems a rare thing to encounter others who share my joy, and I am told that aside from me, only “old guys” read O’Brian’s nautical classics at the bookstore where I work. If that’s true, I’d like to contribute to a revival. These excellent nautical tales have received international acclaim for their historic accuracy, and they have directly contributed to the development of modern space opera. Many of the giants of that genre, such as David Weber, have acknowledged their debt to O’Brian, C.S. Forester and Joseph Conrad, the Grand Triumvirate of nautical adventure stories.
In The Mauritius Command, Jack Aubrey is appointed Commodore in command of the British Royal Navy’s fleet at Mauritius, which is an island very near to Cape Town that is occupied by the French. O’Brian based most of the events of the story on a real-life navy campaign during the Napoleonic Wars, including the outcome of battles, the ships involved, and many of the details. The small fleet is to blockade the French ships and protect England’s vital merchant marine. This mission is extremely challenging – Jack must proceed badly outnumbered, with outdated and smaller ships, and England’s closest supply port is almost a thousand miles’ sail away, while the French, of course, have the islands. This is Aubrey’s first fleet command and he struggles with his lack of experience in ways that directly complicate the plot. The task is made even more difficult and dangerous by the dangerous, notoriously stormy seas, and by the undermanned army garrison that is to support him in these aims, which is waiting for desperately-needed reinforcements. Jack’s command is fraught with great responsibility and little privilege, but his career might be made or broken on it, provided he survives. To up the stakes, Jack’s rather large immediate family, including wife and small twin girls, are entirely dependent upon his fortunes; and also thousands of miles away in England. The fleet’s brave and ingenious solutions form this novel’s riveting plotline.
One of the best parts about O’Brian’s series is that Aubrey and Maturin share equal billing as protagonists, and O’Brian successfully writes accordingly. In this novel Maturin plays an essential but mostly supporting role, having maneuvered to land his friend this command in the first place, and putting his considerable skills as a spy and a propagandist to work on Aubrey’s (and England’s) behalf.
I found this book to be one of the best of the series, filled with action, dramatic tension, sudden reversals, glorious triumphs and crushing defeats. If you enjoy military fiction, adventure, politics, historical fiction or even space opera, you really should put it on your list.
Update on my Vernon Library Summer Reading Challenge and my Worlds Without End reading challenges, including a short review of “Earth Abides” by George R. Stewart and of “The Mauritius Command” by Patrick O’Brian. Also, what to expect in the next couple of weeks and the rest of my reading list for the challenge!
Even on the International Space Station, the tradition of marking the changing of command by the ringing of a bell remains!
So begins a player’s adventures in Skybourne. A wizard’s arrogance left a world broken, ravaged by a sentient forest, and surrounded by the planar wound called the maelstrom. Yet in this aftermath lies a world of adventure, where airship pilots delve a world’s worth of ruins looking for ancient treasure, where Aasimar kings and barbarian lords battle for control of a dozen new cultures, and where anyone with a ship and a will can make their fortune, if they have luck on their side.
Built for both the traditional and Spheres of Power magic systems, Skybourne is a campaign setting for the Pathfinder Roleplaying Game built around the adventures of an airship and its crew, and borrows as much in tone from Firefly, Star Wars, and other shows as it does from classic sword and sorcery adventures. In this, the Player’s Guide to Skybourne, you’ll find:
- A host of new races, including the plant-born Alraun, the octopus-like Cacaelia, the dinosaur-blooded Cherufe, the magically-constructed Created, the draconic Cuazaj, the pheonix-like Fenghaung, the plant-like Leshy, the fey-blooded Sidhier, and the insectoid alien Tatulani.
- Over a dozen new archetypes, including the Halfling dragonrider, the tranquil barbarian, the Alraune bodysnatcher, the gun chemist, and more!
- New traditions, a ‘tradition trait’ system, and the Fallen Fey racial sphere for the Spheres of Power magic system.
- Religions and magic rituals.
- Rules for using crews- swarm-like groups of hired hands that aid the PCs in sailing ships and attacking their enemies!
- Airship rules, including sailing, customization, and combat!
- New feats, new skills, new equipment, new magic items, and more!
Yes, I really did devour this book in a single day. Part of the reason is that I was down with a cold, so really couldn’t do anything else and thus had the time to do so, to be fair; but mostly it was because I thought this was an amazing book and once I picked it up, I couldn’t put it down.
The basic plot, in case you missed it from other reviews: near Venus and Mercury, in a perpendicular orbit to the elliptic, is an asteroid covered with ships created by an ancient alien race that they call the Henchee (though they don’t tell you where the name comes from). It was discovered when alien ruins, created before we climbed down from the trees, were found on Venus, and one of the ships was found there. The person who found it accidentally piloted it to the asteroid base, where he eventually died of dehydration and starvation, or would have if he hadn’t blown himself up in an attempt to alert Earth as to where he was. This sets the tone for the casual acquaintance with death that is part of the mood and setting of the novel.
Now the asteroid, called Gateway, is inhabited by a gold-rush style community of “prospectors.” Each of these ships seems to be capable of going to a location pre-set by the Henchee with some sort of FTL drive, and returning via an automatic piloting system. But no one understands exactly how to set that location. No one knows how long each trip is going to take, and no one knows how long it’s going to take to get back, so you might starve to death on the trip. A system of drawing lots to suicide and even survival cannibalism has been worked out by the prospectors. Because the Henchee systems seem to be integrated you can’t remove any of the Henchee equipment without destroying the ships, so you must cram human survival gear in next to all of the equipment. The ships are able to support one, three, or five people with extreme difficulty and in close enough quarters to literally be in each others’ armpits. The Henchee may have had some other way of picking up nourishment on the way; humans do not.
Even if you do survive the trip that way, because the Henchee built all this stuff maybe millions of years ago, whatever it was that was in the location they went to that they were interested in might be gone. Planets might have been eaten by suns going supernova. Stars might be white dwarves by now. You might end up literally in the middle of nowhere, or you might end up in the cornea of a star or cooked by coming out too close to a blue star by radiation. The risks and the odds are astronomical. There are many, many ways to die, many of them indicated by “mission reports” that Pohl includes intermingled in the text, along with classified ads, letters home, and various other dribs and drabs that give you a really clear picture of prospector life and the surrounding community that has developed. As an aside, some reviewers have been critical of what they see as trademark 1970s liberalism in the society so described, but I think those reviewers probably haven’t read as much as I have about frontier towns and communities that grow up around other dangerous professions, such as soldiering. It seems pretty typical of such communities to me. Not a lot of children present, sex and drugs (at least soft ones) available everywhere, and some really great intellectual and artistic stuff going on alongside all that.
So why would anyone do this? For the same reason people left everything to follow the gold rush; the potential for the big payoff. If you find something of scientific value on your mission, they pay you a science bonus in the millions of dollars. They pay you a multi-million dollar danger bonus if you survive something extremely dangerous. They pay you royalties in the thousands if your discovery can be used by future generations (such as discovering a new world full of Henchee ruins, or a faster route to something of significance.) In order to get this, you’re basically owned by the Gateway Corporation until you do. You don’t have to leave on missions once you get to Gateway, but there’s a life support systems tax and everything, as it often is in frontier gold rush towns, is extremely expensive, so you either get a shoveling-shit kind of job for a subsistence existence or you dare the runs.
And why would you go there and take this risk? Because society is basically a corporatist, overpopulated dystopia, in which there are so many people competing for so few resources that oil shale must be mined to grow food in bacterial and mold cultures. That’s where our protagonist, Robinette Broadhead, comes from, one of these food mines. His father was killed in a mining accident when he was young and his mother died of lung cancer from exposure to mining chemicals; she might have lived, but she didn’t tell Bob that she was sick because he had suffered a psychotic episode and was undergoing psychiatric care, and she didn’t have the money to pay for treatment for both of them. In many ways this is a 1970s sci-fi trope — overpopulation causing widespread famine — but Pohl treats it as an impetus for the story and not the story point itself, and honestly, with the risk of climate change and current economics, it’s not an unrealistic view of the future, I’m sorry to say.
The story is told in the form of flashbacks that come from Bob seeking psychiatric treatment after he has struck it rich at Gateway and returned to Earth, where he now lives a multi-millionaire’s lifestyle. He’s suffering from severe PTSD and is trying to get his life back in order.
I’ve seen more than one review that describes Bob as a “whiner” or an “asshole.” I think that these reviewers don’t understand PTSD. Pohl’s depiction of the disorder, which I happen to know a great deal about both from research and experience, is spot on. A person acquires PTSD not necessarily from experiencing a dangerous situation (though certainly they can,) but also from living with fear for a very long time. Children with abusive parents acquire it because they never know when they’re going to be attacked next, as do abused spouses (both male and female,) and soldiers acquire it because they never know when the next assault is going to come.
Bob expresses much of his post-traumatic stress in the form of suppressed rage. Perhaps other reviewers haven’t realized it but his trauma began long before Gateway; it began in the dangerous mines, where he grew up knowing that his father was killed by an accident and knowing his mother died of chemical exposure; and the same would inevitably be his fate if he remained, but he had nowhere else to go. That, I think, certainly qualifies as a trauma-inducing situation. So when he won the lottery, and it was enough to take him to Gateway, he went.
But this was just going from the frying pan into the fire. Many people are driven by desperate poverty into, say, the military, even though they’d rather not do it; or more commonly, petty crime with considerable risk (like gangs or the drug scene). And if anyone says they had a choice not to do that, I say that such a person has never experienced that kind of desperate, crippling poverty. I have, and there have been times in my life when I have seriously considered such things.
Bob spends a lot time dithering on Gateway before taking his first run. Many people see that as cowardice, and he describes it as such when he is in therapy, but Bob is an unreliable narrator suffering from a great deal of survivor’s guilt and self-loathing. Since one of the first things he experienced was the smell of cooked bodies when a cleaning crew opened up an ill-fated returned ship, I think it’s rational fear. He didn’t want to risk his life like that, but he felt he had no choice if he wanted to live. Scary stuff and I would hope the reader would imagine oneself in that situation. Unless you’ve been faced with the choice of such odds, I don’t think you have any idea how you’d react. I think that people who failed to empathize with Bob’s plight probably spend too much time playing video games. He’s a normal guy, an anti-hero, not an action hero.
A spoiler follows:
Now many people will instantly condemn Bob because he hit a woman who was his girlfriend. That makes him an abuser. Yes, it does. But I also think this has to do with a lack of understanding about PTSD and a lack of understanding of Bob’s situation. Bob ended up breaking up with his first girlfriend because he was too scared to go on that first mission. So the million-dollar payoff could have been his, and then he would be out of this situation in which he must risk his life and live with fear as a constant companion. Or he might be dead. His current girlfriend also avoided going out on runs due to fear. So there was a lot of misplaced self-loathing involved in the situation, and when Bob struck her, he was really striking himself. It doesn’t make it okay, but it does make it *understandable.* He would not be the first person suffering from PTSD to do something similar. (hide spoiler)]
There is also a brief exploration of LGBTQ themes in this book, in that slightly-awkward way that the 1970s has of presenting LGBTQ characters. Gay and lesbian characters are presented as a matter of course in the people that the protagonist encounters, and Bob himself has a brief fling with a character who identifies as bisexual. But Bob struggles with that and feels a certain degree of shame and embarrassment about it in therapy, and there’s also a suggestion (subtle, but there) that Bob’s brief homosexual fling has something to do with his psychological issues. This is a problematic element that you find in 1970s fiction, representing the prejudices of the time. But it’s possible that someone who is unaware of the prejudices of the time might not even notice this issue.
After that, Bob tears off on a spree of self-destruction, and this eventually culminates in a really terrible situation which he survives. I won’t spoil it for you because this is the climax of the book we’re talking about, but if you could survive such a horror without having nightmares you either fail to grasp the horror of it, or you’re a sociopath.
Gripping, moving, outstanding sci-fi novel about the risks of discovery, the bravery of humanity, and about ordinary people doing the best (and sometimes less than the best) they can in terrible situations. It won pretty much every award available in science fiction there is and it deserves it. Seriously, read it.
This is a book that is probably written mostly for the fans of the Vorkosigan Saga. But that doesn’t mean that other people wouldn’t find it interesting and thought-provoking also. Let’s start by clarifying — this book is primarily a planetary romance; that is to say that it is a science fiction story that takes place on a single planet and that centers around a particular relationship’s development. It’s also a story about retirement, and about learning who you are in retirement. It’s also a story about a grown-up child learning that his parents are real human beings. It’s also a story about parenthood, and legacies, and about giving love its due while there’s still time to do it; after all, nobody ever said on their deathbeds, “I wish I’d spent more time working.”
So, speaking strictly of Lois McMaster Bujold’s writing, as one of my favourite authors, I would say it’s typically complex, typically character-driven, and typically human. It does what a good science fiction book is supposed to do; considers how technology might change and challenge the human condition.
It is not a space opera, not unless you take it in the wider context of the whole saga. It is not an intergalactic spy novel. It is most definitely more literary fiction/romance novel than science fiction action/adventure. Lovers of action need not apply.
That said, I liked it very much because it quite neatly tied up a lot of loose ends in the saga and established the legacies of characters I have come to care about very much over the years.
I would have read this book regardless of what was in it because I am a dedicated fan of the Vorkosigan Saga, but I selected this book as part of two reading challenges I am doing. One was a Space Opera challenge (https://www.worldswithoutend.com/roll…), and the other is an LGBTQ Speculative Fiction challenge (https://www.worldswithoutend.com/roll…). For that reason I will address the LGBTQ elements specifically. SPOILERS follow!
Some critics and reviewers have expressed their unhappiness with what they see as “shoehorning past history” in creating the discreet, behind-the-scenes relationship that the entire novel’s premise rest upon, but I think that’s really just a reluctance to admit that Aral’s character has always been bisexual, though expressions of that were obviously limited in the political climate of socially-backwards Barrayar. I think that this has always been going on and that Bujold had it in the back of her mind from the beginning, as one of those salient details the writer always knows about, but the reader might not; especially since our viewpoint character through most of the series has been Miles Vorkosigan, Cordelia’s and Aral’s son, who was being kept deliberately out of the loop for a number of reasons; the homophobic society, the political ramifications of what might be seen to the very traditional Vor as “adultery,” and even the very normal awkwardness from discussing one’s personal and sexual life with one’s adult children (which might rightfully be considered none of their business). I love this aspect because it also shows that Miles, for all his cleverness, is not infallible, especially when it comes to his deliberate personal blind spots.
I like the idea of this relationship very much. Bujold treats both LGBTQ relationships and polyamorous relationships as something unconventional but no more complicated than many other relationships might be. As a polyamorous bisexual person myself, I laughed aloud when Cordelia lamented how complicated all the SCHEDULING had been! That made me wonder if she’s been there, or if she just happens to be really good friends with someone who has.
Another central piece of the plot is that some of Cordelia’s ova and Aral’s sperm has been saved, and enough of it is viable that not only can Cordelia choose to start some new sisters for Miles, even at the age of 76 thanks to uterine replicators, but enough enucleated ova of Cordelia’s have also survived (that is, ova with no cellular nucleus) that it is possible for the scientists of the time to meld DNA from Aral’s and Jole’s sperm (taking an X chromosome from one and a Y chromosome from the other) and create a child who is, in a way, born of all three of them. The dilemma as to whether Jole, at the age of fifty, will do this or follow the path of his military career, is part of the central conflict of the novel. (hide spoiler)]
I want to address this for a minute, because the technology to do all of this is not some invention of the far future. This will be possible within a decade. Uterine replicators are currently being tested on animal fetuses. And the sort of technology that combines an X chromosome from one donor and a Y from another into an enucleated ovum, which is where all the RNA building instructions are located, is how Dolly the Sheep was cloned. It’s how it works.
I think this has some beautiful implications for LGBTQ and infertile people wanting to start families in the future. Wouldn’t that be a marvelous thing? As a woman who has suffered miscarriage, I love the idea of uterine replicators and I can tell you, I would have been extremely glad of such a thing myself. I can hear the Christian Right beginning their outcry now at the “unnaturalness” of it all, but they can lose a baby to miscarriage before they argue with me about it, otherwise they can quite frankly go to hell.
There’s so many ethical and social implications of this technology that it really should delight any dedicated science fiction fan. Bujold has already dealt with many of them throughout the series — the implications of children sired by rape, of mothers exposed to dangerous chemicals, of crazy depots trying to assure their genetic legacy, of genetic engineering. We could trace some of those out in different directions. For instance, if bearing a child does not become necessarily entirely a mother’s burden, should potential fathers have the right to decide to raise a child in a uterine replicator if the mother doesn’t want to keep that child? If so, should the mother be tapped for child support? How about the dangerous chemical exposure issue — could it possible, or *should* it possible, to legislate women who are chronic dangerous drug abusers to put their fetuses in uterine replicators so that we wouldn’t have crack babies anymore?
Anyway, I thought the book was well worth reading. I will of course collect it because I collect the Vorkosigan Saga. But I’ll hold out for a trade paperback or a cheap hardcover. Good, satisfying, an excellent conclusion to the series, but in and of itself, not *great,* not like some of Bujold’s past books. It suppose it suffers by that comparison, and I suppose that’s not entirely fair. Still glad she wrote it though.
Courtesy of Blog of Holding (follow the link for complete rules and explanation):
Edgar Rice Burroughs, the writer who gave us Tarzan, published this novel first as a magazine serial and then released it as a completed novel later on. It’s always an interesting experience to read classic sci-fi, especially when it’s this classic. This pulp legend is loaded with so many tropes it might make the modern reader toss it aside in disgust; except that none of these were tropes when this book was written. And why are they tropes? Because they were amazingly successful and popular, and thousands of writers who succeeded Burroughs tried to imitate what made the John Carter books what they were. These, along with C.S. Lewis’ Space Trilogy, were the primordial space operas.
John Carter, ex-civil war soldier and Southern gentleman, is mystically transported to the planet Mars in a fashion that feels more like fantasy than science fiction to the modern reader, except that almost everything that happens after that is sci-fi to the core. John Carter finds that as a denizen of Earth he is considerably stronger and can leap incredible distances compared to the native Martians, who are adapted to Mars’ lesser gravity; which, of course, would be exactly what would happen by all laws of physics and biology, if Mars were actually inhabited (though this is also ignored in some places; for instance, Martian riding beasts have no trouble carrying John Carter, although he is certainly more dense, and therefore much heavier, than the people of Mars, which is called “Barsoom” by its inhabitants.)
Carter initially finds himself among the savage green men, who are twelve to sixteen foot tall green, four-armed aliens with great tusks like orcs; where he, through a strange combination of coincidences and misunderstanding of social custom, finds himself both a prisoner and a chieftain; and he teaches the green men about friendship, loyalty and benevolence, which are qualities they have forgotten because limited resources on the dying world of Mars have demanded a more savage way of life of its denizens. Then he ends up meeting the more human-like, more technologically and culturally advanced (but smaller and weaker) red men of Mars, where he meets the princess who motivates him to acts of heroism that read like mythology; which of course also make the John Carter books the primordial planetary romance.
As a modern reader I found that I was impressed by much of the implied technology, which included but was not limited to anti-gravity vehicles, terraforming, and the rudiments of nuclear power and plasma weaponry (described as being powered by radium or something similar.)
Aside from the fact that this standard story formula has become the essence of the default science fiction plotline and setting (clearly guiding, among other things, the standard plots of the original Star Trek series,) I can see so many direct influences in many other ways. The Gor novels are essentially Barsoom updated, kinkified and taken to the extreme; the Dark Sun novels borrow the “savage world of limited resources” setting whole-hock, and I think we even get the fact that Mork hatched from an egg from this novel, since the people of Barsoom are born thus. We even get our scantily-clad heroes and heroines from Burroughs’ work; the Martians wear jewelry and combat harness, but not clothing.
There is much to irritate the modern reader if you allow it to. Racism and sexism is rampant, as is the hypocritical logic of Colonialism, and as I’ve said, it’s full of what have become tropes. The writing of the time is prone to contrived plot conveniences and dei ex machinae. There’s a lot of telling and not showing, which of course is considered bad writing by modern convention. And yet it’s a damn good read that keeps you pressing on to the very last page. It took me only a day to burn through it even though I don’t have as much time to read as I would like on working days.
Refreshing, however, to the modern reader, is the fact that despite his Colonialism, John Carter is a man who tries always to do the right thing as he sees it at the time, and in this age of dystopias and anti-heroes, this is like a breath of fresh air. And the style is an easy read that is appropriate for everyone from teens to octogenarians and up.
Everyone who considers themselves a sci-fi or fantasy fan should read this book, whose influence is clearly underrated. Despite, or perhaps especially because of, the tropes.