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Polar City Blues, Katharine Kerr

March 17, 2016

polar-city-bluesPolar City Blues, Katharine Kerr (1990)
Review by admiral ironbombs

The universe is dominated by two gigantic factions, the Interstellar Confederation and the Coreward Alliance. Humans from Earth have created a small Republic, which finds itself – as its citizens like to joke – caught between the Cons and the ‘Lies, a pawn in the game of interstellar politics fighting to keep its independence. Polar City is also something of a joke, a provincial colony of the Republic on an isolated desert planet, its corrupt and bribable government playing host to embassies of the Republic’s neighbors. When one of the alien embassy staff is found dead, police chief Al Bates finds himself caught in the intrigues of the two great powers. When he makes use of local psychic Mulligan, only for Mulligan to suffer some psychic backlash that knocks him into an amnesic state after he tries to investigate the crime scene.

Bates is forced to turn to Bobbie Lacey, formerly a hotshot pilot with the Republic Navy and now the Polar City underworld’s best fixer – an information broker, hacker, and general jack-of-all-trades when it comes to criminal enterprises. Lacey begins her own investigation, with an advanced AI and her friend Mulligan in tow, going where the police can’t. And in the course of her search, she finds a lot more than she signed up for. A political assassin is in town, offing any potential witnesses before moving on to priority targets. A strange bacteria is unearthed, a deadly contagion which eats away skin and hair and may not have a cure. And Mulligan begins picking up psychic communication from a mysterious alien race, potentially the cause of the assassinations and political machinations…

I’ve read that Kerr wrote Polar City Blues as a tribute to the SF she read as a teenager, and there’s certainly a lot of SF elements shared with earlier works – I have to wonder if The Demolished Man was one, given the similarities between the two (SF crime novels with strong psychic/psionic elements). Given its place in time, it shouldn’t be surprising that it looks at first like cyberpunk, with the mystery-crime elements, the whores and pimps and gritty port-town atmosphere that would fit well in Gibson’s Chiba City. But aside from a few AIs, it doesn’t have many hard-edged cyberpunk gadgets or themes; psiberpunk, perhaps? Instead of the faux-code that some cyberpunk novels use to represent cyberspace, Polar City Blues uses a similar style to represent psychic mind-speak, complete with emotion tags:

Big brother >need me?
>Need talk Lacey> BUT| >cop goes away.
Okay\ BUT| >cop goes, Lacey goes>>
[aggravation] She can wait\not wait?
Not wait. Big brother, woman Sally name/Lacey friend\ real danger [fear] >>throat slashed open. >Lacey find/must find\ before then.

Other elements, though, flip the traditional narratives on their heads. Kerr’s future is one where Caucasians are a small minority within the Republic’s populace, where “black” characters are both the majority and the ruling class. It’s reflected by the snippets of Spanish and references to Islam that pepper the text, elements of a melting-pot culture with a heavy Latino influences. Most of the characters use a lower-class slang full of Spanish phrases—Merrkan, by way of ‘Murican I assume—which has the bad tendency of replacing more complex contractions (“don’t,” “won’t”) with “no,” making everyone sound uncomfortably close to a bad Latino stereotype: “I no go any closer. I no can,” “I no mean that,” etc. It’s also a bit odd examining racism through the eyes of Mulligan in the white minority, especially as he’s branded as a psychic in a world that’s somewhat suspicious of mental powers.

Meanwhile, the story takes the basic “damsel in distress” plot and inverts it. The scrawny Mulligan as the “damsel”, wishing he wasn’t psychic so he could fulfill of dream of playing pro baseball, while the tough-as-nails Lacey is the heroine coming in for the rescue. And it somewhat inverts the old space operas written during the Cold War: instead of making the humans one of the two dominant factions, the human Republic instead plays the part of the Non-Aligned Movement, jammed between two powerful factions, keeping its freedom by cunning and dirty tricks.

Polar City Blues blends a rip-roaring space opera with an SF detective novel; while it has its quirks, overall it’s pretty good entertainment, a compelling, very readable novel. Kerr develops a slew of interesting characters, keeps the plot moving along at a fast clip, and she handles the mystery elements very well. The way that Kerr uses social commentary that makes the novel something more than just a science-fiction adventure; she touches on themes of class, prejudice, race, and gender, giving the novel additional depth without making the characters any less approachable or sympathetic. It’s a fast-paced, action-packed novel, but one with quite a few thought-provoking elements.

This review originally appeared on Battered, Tattered, Yellowed & Creased.

The Handmaid’s Tale, Margaret Atwood

March 9, 2016

handmaidstaleThe Handmaid’s Tale, Margaret Atwood (1985)
Review by Victoria Snelling

How have I waited so long to read The Handmaid’s Tale by Margaret Atwood? It’s a classic, and has been televised, and is the kind of thing that sometimes you don’t read because you think you know all you need to about it. The Handmaid’s Tale was published in 1985 and I really should have read it long ago.

Sometime in the 20th century a Christian extremist sect sets up a totalitarian theocracy in the US. The handmaids are a caste of women able to have children which is now a rare ability, due to widespread sterility. It’s not clear if that because of environmental toxins or out-of-control STDs. Offred doesn’t know what’s true and what isn’t, so neither does the reader. The ruling elite use propaganda to create the beliefs they want the populace to have, and much of what the narrator, Offred, relates is what she’s been encouraged to believe. The parallels between that and the distortion of reality created in today’s media are striking.

Offred describes her life, her illegal relationships with the Commander and his driver, Nick, and her eventual escape via an underground railroad. It is compelling. The claustrophobic nightmare of Offred’s life is vivid. What struck me the most was the boredom. Offred has nothing to do. People are not permitted to read or to write and a handmaid’s only role is to breed. Offred is allowed a daily trip to obtain rationed food but she has no other role, so she spends a lot of time on her own in her room doing nothing. There are exercises and prayers but Offred is not a true believer.

I was gripped by the story. I’d expected, as it was published in 1985, to find it dated. Scarily, the opposite was true. It seems like a future that is only a couple of steps away. One or two wrong turns and we could easily end up there. Atwood’s realisation of the impact of living in a totalitarian society is chilling. It’s an important book and is still relevant. If you haven’t read it yet, don’t wait any longer.

This review originally appeared on Boudica Marginalia.

Star Hunters, Jo Clayton

March 2, 2016

star_huntersStar Hunters, Jo Clayton (1980)
Review by Ian Sales

After the events of Maeve, the preceding novel in Clayton’s nine-book series, heroine Aleytys has joined Hunters Inc, an interstellar mercenary organisation. She is still in training, however, when she is called to Head’s office and told that she has been requested for a particular job – despite the fact she hasn’t completed her training. The Chwereva Company, which owns the world of Sunguralingu, is having a trouble with a plague of telepathic rabbits – well, hares – which are sweeping across the land and eating everything in their path, and telepathically driving the back-to-the-land settlers either into “blindrage”, in which they slaughter each other, or mindlessness. The settlers, some of whom are empathic, have christened the intelligence they can sense driving the hares Haribu. And it is Haribu Chwereva Company have asked Aleytys to “hunt”.

She is partnered with Grey, the man who recruited her for Hunters Inc in Maeve, and now her ex-lover after twelve months of stormy relationship. They travel to Sunguralingu, and en route Aleytys finds herself telepathically linked with someone on the world. Manoreh is a watuk, a humanoid race with green skin prone to blindrage, and an empath – which makes him an outcast among his kind. So he has joined the Tembeat, an organisation that accepts empaths and is not anti-technology like the rest of the watuk. The watuk are also extremely sexist, and consider women inferior – so much so that not only will Manoreh not talk to his wife, but he is unwilling to accept advice or help from Aleytys.

Unfortunately, within a couple of days on arriving on the world, Grey and Aleytys’s cunning plan to track down Haribu has gone horribly wrong and they’ve been captured by the villain. Who turns out to be a Vryhh, one of the super-strong, super-intelligent, near-immortal, with mental powers, humanoid race of which Aleytys is a half-member. And the rabbit thing was actually a plot to entrap Aleytys.

Meanwhile, Manoreh learns to accept that women are equal to men, and his wife, Kitosime, turns their deserted homestead into a sanctuary for feral children, who, being empathic, were ostracised and so became “wildlings”.

In Maeve, the Diadem series made a welcome change in direction. Previously, the novels had been more science-fantasy than science fiction, and Aleytys was presented as a super-special snowflake with super-special powers, who, it seemed, in order to offset her abilities, was subjected to offensive sexual violence. Star Hunters continues on from Maeve in presenting Aleytys as a competent space opera heroine, very much with agency; and while in this novel, Aleytys has to contend with the outright sexism of the watuk, she’s certainly up to the job. True, she still needs to use her powers in order to resolve the plot, but they’re very much dialled back in this novel. In fact, the three disembodied intelligences who “share” the diadem with Aleytys even tell her they will no longer be at her beck and call, and she must now stand on her own two feet at all times.

Having said all that, the plot of Star Hunters is not especially satisfying. The initial situation is presented through Manoreh’s point-of-view, but the jeopardy feels somewhat manufactured. Which is not helped by Grey and Aleytys falling into Haribu’s trap almost straight away. Kitosime’s narrative is perhaps the most engaging, as she has nothing but her own low-level, and carefully hidden, empathy to help her – and yet she still succeeds. There are a number of threads in Star Hunters which carry over from previous volumes, and which remain unresolved in this installment. Still, there are four books to go before the series, so likely the story arcs will be resolve in later books.

Memoirs of a Spacewoman, Naomi Mitchison

February 25, 2016

memoirsofaspacewomanMemoirs of a Spacewoman, Naomi Mitchison (1962)
Review by Kate Macdonald

For years I’d thought that I had read pretty much everything Naomi Mitchison had published. Oh how wrong I was. I rechecked, and found to my horror that Mitchison herself couldn’t remember how much she’d published, but 70 books or thereabouts would be about right. Swift detour to to order some of the many that I’ve missed.

Right. I’m back. For years I’d thought that Naomi Mitchison was mainly a historical novelist with outbreaks of socialist outrage and feminist memoirs. Her most famous novels are The Corn King and The Spring Queen and The Bull Calves: there are loads more. Then I realised (after reading reviews by Couchtomoon on SF Mistressworks and SF Ruminations) that I hadn’t read her sf novel Memoirs of a Spacewoman (1962), so obviously I had to find it. You don’t often get a novelist writing hugely successful and critically acclaimed sf AND historical fiction novels. (Nicola Griffith is the only one I can think of who’s done this, other than one or two of Joanna Russ’s short stories, but I’d like to know of others. There must be some male writers as well.)

It is stunning. Since Mitchison is not only a dead posh white woman and not primarily known for writing science fiction, she isn’t normally cited as a pioneer in feminist sf. However, Memoirs of a Spacewoman moves the date backwards for when science fiction began to depict women as professionals and technical specialists first. It also demolishes the idea that no-one wrote seriously about alien sex in the 1960s, or about a woman’s right to choose her children’s fathers. Yet, this is not a Barbarella romp in plastic spacewear. It is a novel, even though (as the introduction in my edition by Hilary Rubenstein notes) there is no plot, no beginning or end. It’s a slice of life, a rambling, cheerful discussion of her professional and personal life by Mary, a space communications specialist in a profession we would call xenotranslation. She talks to aliens and they talk to her, on her expeditions to their home planets, and during their sojourns in the laboratories on Earth. She also talks to most of the mammalian species on Earth, but this is considered normal, as is probing the minds of other humans (something to do only with permission). Mary’s working life is bounded by professional protocols, of which ‘do not interfere’ is the strongest.

Naomi 2However, ‘interference’ has different meanings depending on the context. Mitchison’s sly and mildly erotic descriptions of Mary talking to her Martian communications colleagues involve all-body tactility, inside and out, in which their sex organs are very communicative. In another episode she volunteers as one of the human colleagues in an experiment to accept an alien graft on her skin. The entity needs a female host on which to grow before it deliquesces in water to enter the bloodstream of the newly fertilised female, and, then what? No-one knows, hence the experiment, and it has some horrifying consequences when the lab realises that female volunteers are undergoing a strange maternal impulse that is overriding their normal behaviour.

Mary chats away about her children by different fathers, and how they had decided with her to conceive a child before, during or after various expeditions. She was voiced perfectly in the recent BBC dramatization of a fragment of this amazing novel as a kind of jolly hockey-sticks county girl, businesslike and perfectly groomed while handling Martian sex organs in a competent, trained manner. Mitchison – a sex education pioneer from the very early days of the Marie Stopes clinics – was in her seventies when she wrote this novel, and she must have had a lot of fun with it.

Memoirs of a Spacewoman is breathtakingly original, and audacious. Mitchison’s maturity as a novelist, a feminist and as a perpetually open mind, make her narrative voice deeply persuasive. We hardly notice that there is no mention of how all the space travel is funded, or how indeed it even happens. Her interest is not in gadgets and technology, merely that these exist and can be used efficiently and effectively to get expeditions out into space for more and better communications with whatever is out there. Mitchison’s real interest is in imagining alien lifeforms, and how they breed and live their lives. The range of her biological speculation is impressive, until one recalls that she is the daughter and sister of scientists, and before the First World War she had herself begun to train as a geneticist.

This review originally appeared on

Starfarers, Vonda N McIntyre

February 17, 2016

starfarersStarfarers, Vonda N McIntyre (1989)
Review by Victoria Snelling

Starfarers is the story of a group of people who find themselves on a journey across the stars. For some that was their intention and for others it was the path circumstance led them down. They are scientists and artists for the most part. As Starfarers is the first book in a series so there are two stories. The series story is the one of what happens to these humans when they leave our solar system and can they maintain their ideals while they do it. In the first book, the story is how the characters overcome the internal and external obstacles to starting their journey.

McIntyre makes an effort to present a future in which humans act differently than they do now. Three of the main characters are in a polyamorous relationship which was once a group of four but they are grieving the death of the person who was at the centre of the relationships. I liked the depiction and I thought it came across convincingly. Each member has to manage their intimate relationships and also manage the group dynamic. That wasn’t portrayed as something too difficult but it also wasn’t swept under the carpet. The characters are highly emotionally intelligent and that helps. I liked that it was presented as a slightly old-fashioned relationship in that it was formalised.

The politics of this future world are described in the ways they impact the ship. It’s a research facility primarily so when countries don’t want to support its aims they pull finding and it affects directly the lives of the people on the ship. Their friends leave and they can’t get the supplies they’re used to. The ship believes itself to be egalitarian, but one character is a gardener and he observes that the academics don’t mix with the custodial staff so it’s not as free and equal as they’d like to think. There’s a fair amount of exposition in the book but for me I found it interesting and thought it was well-handled as character development and worldbuilding. But this is a vision of a future I’d like to buy into so perhaps I wouldn’t have thought that if McIntyre had been exploring different ideas. I enjoyed the worldbuilding and I found the characters real and engaging. I’ve been acutely aware of the monoculture of most of the books I’ve been reading and the conspicuous diversity, at least in gender, ethnicity and sexuality, was refreshing.

Clearly this is the first in a series and it is setting up what is the real story – due to political tension on earth the ship and its scientific mission is under threat and eventually the US tries to take it by force. They want to use it as a military base. As the ship is weapon-free their only alternative is to run – to start their mission understaffed, under-supplied and underprepared. It may only be the first peril they face on their journey but it was full of tension.

I enjoyed this very much and am keen to read the rest of the series.

This review originally appeared on Boudica Marginalia.

Kindred, Octavia Butler

February 10, 2016

Kindred, Octavia Butler (1979)kindred
Review by Debbie Moorhouse

Published in 1979, Octavia Butler’s Kindred is one of her few stand-alone novels. Narrated in the first person, it tells the story of Dana Franklin, a black woman from 1976 who is repeatedly transported to the South of the USA in the nineteenth century, usually without, but once with, her white husband Kevin.

Dana’s knowledge of the history of slavery in the USA, which includes her own family’s history, enables her to adapt to being dragged through time to rescue her ancestors, Rufus Weylin and Alice Jackson, from injury, illness and death. Rufus is the son of a slaveowner, and Alice a free black woman who is later enslaved. One of Dana’s rescues of Rufus is saving him from the wrath of Isaac, Alice’s husband, who has caught the young white man attempting to rape Alice. Once Isaac is caught, mutilated, and sold away, Rufus is able to take Alice to his bed with impunity.

Kindred doesn’t shy away from the ugliness of slavery, yet throughout it didn’t feel as if Dana was nearly as frightened as she ought to be. It’s as if something is lacking at the heart of the story. Butler does a much better job in Dawn of communicating the character’s fears, helplessness and distress. Perhaps Dana’s confidence is the result of detachment, an inability to believe that this world could kill her without a thought, yet that doesn’t come across, either. So although this is a well-told and thoughtful story, it lacks the visceral responses of a modern, free woman with rights who suddenly becomes a possession, a piece of property, something to be punished, mutilated, even killed, at will.

What is handled well is the relationship between Dana and Rufus, particularly. She tries to counterbalance the influences of his society and family, to make him see that raping Alice is wrong, that selling slaves away from their families is wrong. Yet she’s never able to overcome his own sense of rightness, of his place in a society in which nothing he does to slaves can be wrong – unless it’s teaching them to read and write, or tolerating their own choices of sexual partners. He doesn’t see himself as cruel or unreasonable; this is just how things are. And eventually he comes to believe that his rights over black people extend even to Dana, despite her having frequently warned him that alienating her will lead to his death.

The ambivalence of many of the relationships in this book are reminiscent of those in Marlon James’s The Book of Night Women, and reflect how adaptive human behaviour is, especially when that human is a woman trying to protect herself, and perhaps her children. Dana herself adopts the behaviours and mannerisms of a slave, and it takes Alice to call her on it, to remind her of who she used to be.

By the end of the book, both Alice and Dana have freed themselves in the only ways open to them, their methods perhaps reflecting the gap of over a hundred years between their attitudes and beliefs.

A strong book, well worth reading, and one that carries utter conviction in its characters and its events.

Welcome, Chaos, Kate Wilhelm

February 3, 2016

welcome_chaosWelcome, Chaos, Kate Wilhelm (1983)
Review by Megan AM

Two parts mainstream Cold War espionage thriller to one part bio-social science fiction, Welcome, Chaos is a departure from Wilhelm’s reflective, elegiac vision of seven years prior: the captivating, multiple award-winning Where Late the Sweet Birds Sang (1976). In many ways common with one another, both novels contain themes of pre- to post-apocalypse, survival via artificial biological advancements, ethics of scientific intervention, and, well, birds.

When Lyle Taney leaves her history professorship to study nesting eagles on the coast of Oregon, she finds herself torn between befriending her warm, intelligent neighbor Mr. Werther, and spying on him for arrogant CIA agent Lasater. She doesn’t trust the domineering CIA agent, and she’s both intrigued and attracted to Werther, and his house servant Carmen. Are these men really responsible for the deaths of two scientists?

Between both novels, Wilhelm seems to be saying that it will require an apocalypse to put power into the hands of scientists, but she’s uncertain if this is a good thing. Where Late the Sweet Birds Sang serves as an ethical quandary, emanating a suspicion of scientists with bountiful resources, power, and entitlement, Welcome, Chaos conveys an optimism about similar circumstances, where scientists stand poised to serve humanity at the edge of nuclear annihilation. Both narratives are motivated by ethical questions, but, unlike Where Late the Sweet Birds Sang, Welcome, Chaos fails to provoke any serious and prolonged contemplation.

The difference lies in the treatment of the protagonists. In Where Late the Sweet Birds Sang, the protagonists are symbolic of every person; the reader sees humanity at the core of the tale. That micro-story about a small, intimate post-apocalyptic community feels grander, all-encompassing. The tension affects us. This could be us. Alternately, the protagonist in Welcome, Chaos is one woman, one damn lucky woman, who stumbles into an unlikely situation, is likeable enough to be welcomed and supported in said situation, is loved by multiple men, and who ultimately aids in the survival of humanity.

But the overarching theme is essentially about big decisions about life, love, survival, and, primarily, the female self. Taney, initially a doormat by modern standards, develops to become a more modern woman. The text, feminist from the get-go with Lasaster’s relentless blasts of condescension, (“Maternal devotion, security, money, revenge, that was what [women] understood” p20), makes it obvious that Taney will choose to defy Lasater and abandon her meek life.

But that’s part of what keeps this novel from being just a generic grocery store thriller. Over thirty years before Ancillary Justice, Kate Wilhelm plays with language degenderification by gender swapping character names, like Lyle, Carmen, Hilary. Even [Lass]ater is an appellative joke, as the vain, needy detective demonstrates his inability to drive. She takes gender relations further, introducing Taney to a household of scientists with open romantic relationships, but without sexualizing anyone. When Taney’s physical appearance is complimented, she is full-cheeked, bright-eyed, with soft hair. Her multiple men love her for who she is. In dangerous situations, Wilhelm’s slight hints at rape tension are oddly and abruptly abandoned—perhaps as a statement on this tired plotting cliché.

But overall, major parts of the narrative are hard to swallow. Lasater locates Werther’s Pennsylvania hideout by simply driving around the entire Delaware Valley region. He plays cat-and-mouse with Taney all over the East coast and finds her in a highway traffic jam during a blizzard. I can’t even find my grandma in the local, rural mall on a weekday morning.

Also, common in thriller fiction is the large cast of (assumed to be) white men as law enforcement and elected officials. Some scenes act as ‘who’s who’, only to become ‘who the hell is who’? Really more of flaw with this particular subgenre, than a criticism of Wilhelm, but difficult to follow, nonetheless. Also, those ethical questions that are primarily posed to drive tension fail to do so, and the only real tension revolves around the true identities and motivations of Werther and Carmen – interesting, yes, but are resolved by the middle of the novel. The rest of the novel serves as playground for Taney’s risk-taking, but her evolution as a strong, independent woman is complete by then. We believe in her, so there’s no real reason to worry.

Just looking at Wilhelm’s bibliography, it’s apparent that her body of work has changed over time, with her psychological sci-fi giving way to mystery fiction. Welcome, Chaos serves as a clear transition of Wilhelm’s interests in this regard, where the serious treatment of scientific advancement takes a backseat to detective chases and scientific scheming. Given Wilhelm’s vocal frustration at the publishing industry, this may be a financial decision for this award-winning and celebrated author. But this is no Where Late the Sweet Birds Sang.

So maybe Welcome, Chaos does read like a novel from a grocery store shelf, but it’s top shelf grocery store fiction because Wilhelm knows what she’s doing in this format, she does it well, and she doesn’t cater to formula or cliché. Generic flavor, but with natural ingredients, it’s not satisfying in the sense that it will thrill or provoke, but it does compel page-turning. Wilhelm’s Taney is a unique female voice, it’s fun to watch her grow, and the arc unfolds in an unusual way. Categorize this one as a mainstream follow up that straddles subgenres, while being alternately dubious and unputdownable.

This review originally appeared as a guest post on Science Fiction and Other Suspect Ruminations.


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