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Rainbows End

Vernor Vinge is one of my favorite authors; his Zones of Thought books are brilliant (especially his depiction of the Tines and the spiders of the world circling the OnOff star, both in terms of individuals and societies) and his Realtime/Bobble series is some of the best science fiction ever written. Thus, it was with high expectations that I turned to his 2006 novel Rainbows End, set in an alternate version of his short story “Fast Times at Fairmont High.” The short story and the novel have many similarities, including the same characters (Juan Orozco and the Gu family, though the names of the father and mother changed in the novel) and a similar fascination with what reality really is and the social effects of an internet carried to its extreme. While the short story is interesting, it really pales in comparison to the novel, which expands upon everything “Fast Times at Fairmont High” had to offer.

Rainbows End centers around the Gu family; in particular, world-renowned poet Robert Gu, who after having barely survived Alzheimer’s, is now learning how to live in a world where the real and the virtual are blended together. Almost everyone uses special clothes and contacts to be constantly wired into a global internet made possibly by a series of localizing nodes, and they can overlay various realities over what really exists. Essentially, everyone’s reality can be tailored to their own preferences, and people can work together to create larger “belief circles,” which are large virtual realities often based around works of fiction.

This whole idea of everyone having their own reality was the most fascinating part of Rainbows End, but alas it was not fully explored. Instead, Vinge set this as merely a backdrop for a more personal story about an old man trying to find his place in the world, a young woman trying to keep her grandfather out of trouble, a young boy trying to pass his classes, a conspirator trying to make the world a better place by less-than-savory means, and a rabbit intelligence whose power is only hinted at. This plot is well-done for the most part, though a bit complex and at times confusing, but to served to distract from a more thorough examination of a society firmly embedded in multiple clashing virtual realities. These clashes are hinted at, but never realized, as the book gets a little bit lost in its personal stories and plot. I think, in the end, it suffered from trying to do much.

Still, the book was very well-written, very engaging, and while a bit confusing, really made me think. I wish some aspects of it had been explored more thoroughly, and I hope that his probably sequel will do exactly that. It didn’t live up to my expectations, but it is still well worth a read.

 
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Posted by on July 8, 2014 in Readings

 

The End of Eternity

Ending my recent spate of Asimov reading comes one of his earlier works, 1955′s The End of Eternity. This book was published shortly after the stories that made up the Foundation trilogy. Indeed, I think the same ideas driving Foundation were still very much in Asimov’s mind as he wrote this book, as it also deals with the social sciences – in this case, just called sociology and psychology and not psychohistory – influencing human development. Unlike Foundation‘s psychohistory, though, the sociology and psychology Asimov discusses in this work can predict individual behavior.

The premise of the End of Eternity is simple and very interesting: there exists a dimension outside of space and time called “Eternity” alongside our universe, and humans are taken from the real universe to live in this universe, where they work to help mankind by changing events across all of history to cause the least possible harm. In essence, it deals with time-travel and social engineering on both large and small scales. The main character – who, like most Asimov characters, is rather forgettable – is an Eternal who falls in love with a timebound woman, and risks the existence of all Eternity to be with her. While this romance is painful at times, it serves as a useful plot device to explore all of the problems inherent in a group of outsiders guiding human history to cause the least possible harm. Ultimately, the novel revolves around two questions: why the Eternals can’t access a series of centuries in the far future, after which mankind is extinct, and why there is no significant space travel (and no Foundation-esque Galactic Empire). Both questions turn out to be intimately related, and Asimov’s exploration of them really make this book stand out as well worth-reading. I highly recommend it, and for the sake of not spoiling anything, I will stop here.

 
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Posted by on July 6, 2014 in Readings

 

Structure, Agency, and Foundation

I think Isaac Asimov secretly wished he had been a social scientist. Though he was a respected biochemist, his works, particularly the Foundation trilogy, privilege social scientists. At one point, Asimov even notes that the physical sciences are more lauded because their results are immediately beneficial, yet ultimately superficial, while the work of the social sciences have little immediate benefit, but in the long run yield far greater results. Asimov’s fascination with the social sciences led him to fuse his physical science training with his idea of social science (particularly sociology), to create the fictional science of psychohistory: the reduction of the collective actions of vast numbers of people into equations, enabling a skilled practitioner to predict future human behavior using advanced statistical techniques. This science is the basis of Asimov’s lauded Foundation trilogy, and to some extent the prequels and sequels (the series was awarded the “best all-time series” Hugo in 1966). This post is only concerned with the first five Foundation books, and excludes the prequels. Thus, I will only discuss FoundationFoundation and EmpireSecond FoundationFoundation’s Edge, and Foundation and Earth.

The premise of the Foundation series is simple enough: in a future so distant that mankind has colonized the entire galaxy and Earth is a mere myth, psychohistorian Hari Seldon perfects the art of psychohistory on the Galactic Imperial capital Trantor. During the process, he discovers that the Galactic Empire is in decline, and predicts that 30,000 years of barbarism will follow its collapse. However, his psychohistory allows him to see a way to reduce this period to a mere millennium by establishing two “foundations” at opposite ends of the galaxy to preserve human knowledge and provide the seeds for a new Galactic Empire even greater than before. The original trilogy deals with the people of the First Foundation, a great collection of physical scientists, who follow the “Seldon Plan” and work towards a new Galactic Empire.

Over the course of these first three books (the later two I will discuss later), Asimov comes in on a very old argument within sociology: which is more important in thinking about human society, social structures or human agency? Psychohistory, the physical science of society, is the pinnacle of the structuralist argument, though it leaves room for agency. Seldon uses psychohistory to predict history for the next thousand years, and grounds his predictions on two assumptions (plus an unspoken third assumption key to Foundation and Earth): that people to not consciously know of psychohistorical predictions, and that there are sufficiently large numbers of people to make the predictions from. In Seldon’s model, the individual cannot change history, and social forces will always triumph. However, psychohistory cannot predict the actions of individuals, who can more or less rule their own life. It is only large-scale, macrosocial events that are subject to psychohistorical principles.

Of course, the series would be relatively boring if everything went according to Hari Seldon’s plan. In the second book, an individual gains the power to change history, thus representing the triumph of agency over structure, and destroying the Seldon plan. This triumph was only made possible by a “mutation” that, in a way, made this individual no longer human by giving him the power to influence the minds of others, and thus fell outside of Seldon’s psychohistory. Thus, for the first time, the individual was not a pawn of social forces. As such, in the original trilogy, the struggle between structure, as represented by the Seldon Plan, and agency, as represented by those resisting the Seldon plan (successfully only in the case of the mutant).

In the end, Asimov explores the structuralist argument more, and when agency does come up, it is treated as an aberration that can (and maybe even should) be corrected. As such, I think Asimov tends to side with the structuralist argument more than the agency argument. That said, I’m not sure his idea of structure is completely devoid of agency. During periods of “crisis” in the Seldon Plan (which are part of the plan and only apparent crises to the First Foundation’s existence, which are resolved by the social forces already set in motion), the First Foundation is supposed to do very little and let social inertia solve the crisis for them, thus rendering individual action useless. Yet, despite his characters saying this, individual agency seems to matter; the first great Mayor Salvor Hardin and the great Merchant Hober Mallow both use what seems to be agency to solve their crises. Granted, they both make use of existing social forces, but especially in the case of Salvor Hardin and the Anacreon crisis, it seemed to be Hardin’s ingenuity and clever use of these social forces that won the day, rather than the social forces themselves. Sure, maybe if Hardin hadn’t done it someone else would have, but I am not so sure. The structure/agency question is a complex one and still the topic of much debate, and Asimov does portray this complexity well in the trilogy.

Despite the great ideas and beautiful Galaxy-building Asimov does, the Foundation trilogy does have some problems, and I think is vastly overrated. Asimov’s writing is not terribly good, and at times his grammar, phrasing, and pacing made me wince. Furthermore, his characters are utterly forgettable, and are largely the same few cardboard cutouts rehashed again and again. He also only includes two named women, Bayta and Arkadia Darrell (other women are present, but only as unnamed male attachments). However, despite these deficiencies, the original Foundation trilogy is a brilliant series that covers hundreds of years of human history, and are well worth a read.

The sequels to the trilogy, however, are an entirely different story. While the first three Foundation books more or less read like a collection of linked short stories and novellas and take place over the course of centuries, the second two feature the same cast and take place over the course of about a year. This gives Asimov more opportunity to develop characters (and, since these were written about twenty years later, his writing also improved – but not all that much), and he does. However, the characters are still a bit unconvincing and feel like cutouts, partly because they are written somewhat inconsistently (especially Trevize).

Now, I have no problems with this, but this gives the latter two books a vastly different feel. However, I strongly feel that Asimov should have left Foundation at the original trilogy and let it stand there. However, under pressure from readers and editors for a sequel, Asimov committed a cardinal sin: he tried to combine the Foundation trilogy with his other works – most notably his Empire and Robots series – into a single universe, and thus twisted the underlying plot of the latter two books almost beyond recognition, in the process destroying everything that made the original trilogy as good as they were. He destroys and dismisses psychohistory, renders meaningless all of the events of the original trilogy, and introduces several deus ex machinas and inexplicable plot phenomena to move the story along. While these two books would have made fine standalone books (with a little editing), the fact that he tied them to Foundation ruined a lot of the work he had already done, and thus I prefer to think of them as not really counting (these two sequels have also turned me off of the prequels he, and others, wrote).

So in the end, I highly recommend the original Foundation trilogy, despite its flaws. I cannot in good conscience recommend the other books in the series, but perhaps familiarity with the Empire and Robot sagas would help a reader there. If you haven’t read Foundation yet, do it, and think about Asimov’s application of structure and agency, which I feel to be at the heart of what makes Foundation so (relatively) timeless and so fascinating.

 
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Posted by on July 4, 2014 in Readings

 

Megamind and Women

I recently had the pleasure of watching Megamind – I know I’m behind the times, but it didn’t appeal to me when it first came out. I was very glad I decided to watch it, though, as it was extremely funny, quirky, and while often cliched and predictable, it still managed to be clever. The main characters were well done and I sympathized with or understood all of them – all of them, that is, except the sole named female character, Roxanne. In a movie that was all about subverting cliches, the one cliche they didn’t subvert was that of the damsel in distress. In and of itself, that’s fine, but then Roxanne never rose beyond the role of damsel in distress. She was introduced as clever and confident, but these traits mostly vanished as we got to know her better and she got used by pretty much everyone. She had so much potential and was so well-positioned to actually affect the plot, but she never did; she always went to Megamind or his alter-ego for help. She did almost nothing on her own, though she was clearly capable of doing so!

Other than her, the world they inhabit seemed to be entirely made of men, except for a few women who pop up in the large crowd scenes. As such, it’s a crime that they didn’t take advantage of the one female character they included, and then even more of a crime when the damsel in distress trope was pretty much the only one to survive unscathed. It was extremely frustrating to watch her miss out on all of these opportunities to do something, when it was perfectly in character, and soured an otherwise phenomenal movie.

Sorry for the little rant, but that aspect of Megamind really bugged me. Still, though, if you haven’t seen it yet, I highly recommend it.

 
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Posted by on June 18, 2014 in Watchings

 

The Gods Themselves

Of all of the hundreds of novels he wrote, 1972′s The Gods Themselves was Isaac Asimov’s favorite. Having picked it up after reading the first three Foundation novels (a review of that whole series will be coming once I finish all of the one’s he himself wrote), I can understand why it is. The book is divided into three parts, aptly entitled “Against Stupidity…” “…the gods themselves…” “…contend in vain.” The line, as mentioned in the book, is taken from the play The Maids of Orleans by Friedrich Schiller, and each title corresponds very nicely with the contents.

The first bit, “Against Stupidity,” details the struggle of a physicist-turned-somewhat-historian chronicling the invention of the “Electron Pump,” which produces free, unlimited energy with no downsides that is generated by exchanging matter with a different universe with different physical laws. The Pump’s inventor more or less stumbles into inventing it, and most of the technical work was supplied to him through mysterious beings in the other universe, about whom nothing is known, with whom communication is nearly impossible, and without whom the pump will not work, as they are the ones exchanging material.

Naturally, the man credited with inventing unlimited energy becomes an academic giant who rules the academic world with the iron fist of patronage, and much of the first third of the book is a criticism of academia (and particularly its patronage system) and human greed (which causes people to ignore danger when it is easier to deny it). The young scientist who stars in this part of the book, who finds out that the physical laws of the two universes are leaking into each other with disastrous consequences for mankind, spends the first part struggling in vain against mankind’s stupidity and illicitly contacting the “para-universal” beings on the other side of the pump.

The second part was the centrepiece of the book and by far the most interesting and fascinating. The para-beings on the other side of the Electron Pump are, compared to mankind, technological gods. The second part of the book focuses on these “gods,” and takes place in the other universe, focusing on those beings exchanging matter with mankind. What makes this part so brilliant is Asimov’s ability to create utterly alien races and at the same time make them very easy to relate to. One of the unnamed races he described have three sexes that interact in fascinating ways, and I shan’t say more about them as it would absolutely spoil the absolutely brilliant twist that forced me to put down the book for a good twenty minutes to get my bearing. It was simply the best twist I have ever encountered in television or on paper.

The third part, “…contend in vain,” is back in our universe, and takes place on the Moon. It deals with many “hard science” aspects of life on the moon, and brought the anime Planetes to mind in its discussion of native Lunarians (to borrow the Planetes term). In the last third of this very short book, Asimov touches on a lot of the sociopolitical issues of colonization, while simultaneously tying up the loose ends in the first two parts. The title fits a little less well here, as they in the end are not contending in vain, but perhaps the title refers to the lie that the chapter is exposing.

The fact that this book was originally serialized as three stories is rather obvious, as the three parts are rather disconnected thematically, and are only connected by the Electron Pump, which is the focus of part one, more fully explain in part two, and then resolved in part three. Each segment, though, also has its own important aspects of social criticism: part one criticizes greed and academic patronage, part two criticized greed and presented a fascinating alien society and parallel universe, and finally, part three dealt with issues of power and separatism on a colonial holding.

As in his other work, Asimov’s writing can be a bit clunky, and his individual human characters are somewhat flat, but his alien characters absolutely shine, as well as his spot-on presentation and analysis of various social problems that continue to plague us today. The book is well-worth reading, and definitely would be high on a list of science fiction books everyone should read.

 
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Posted by on June 17, 2014 in Readings

 

The Art of Surprise

I think the word “suddenly” is one of the most overused words in the English language. The word has its uses, but it is not as useful a word as many think it is, in my own humble opinion. The word is an adverb, and if you adhere to Stephen King’s writing recommendations, this makes it inherently evil. While I don’t think adverbs are as terrible as Mr. King does, “suddenly” is an adverb that should immediately arouse suspicion.

Why? Because the word is counterproductive. The word “suddenly” is supposed to inform the reader that something is happening very quickly and is coming as a surprise or shock. But by informing the reader of the upcoming surprise, it spoils the surprise. For example: George lay down in his soft bed, lulled quickly into the depths of slumber by the constant chirps of the crickets outside. He dreamt of cake and cherry pie, and danced a merry jig with the lord of the ladybugs. Suddenly, the chirps stopped. George was awake in an instant. In that example, the word functions as a connector. It marks the transition from the soothing world of cricket chirps to the eerie world of silence. It makes the transition more obvious, less subtle, and most importantly for those who use the word, less awkward.

If you remove the “suddenly” from the example, it becomes: George lay down in his soft bed, lulled quickly into the depths of slumber by the constant chirps of the crickets outside. He dreamt of cake and cherry pie, and danced a merry jig with the lord of the ladybugs. The chirps stopped. George was awake in an instant. This doesn’t really work, as without the mark of the transition, we have no real sense of time or when the transition is taking place.

Yet, at the same time, the “suddenly” takes away from the surprise by warning you that you are going to be surprised. It is a red flag that tells the reader that something unexpected is going to happen. As a result, you expect the unexpected, and the impact of the surprise is lessened. So, the question becomes, how can you make the reader genuinely surprised and shocked, but also make the writing flow and make sense?

My own answer to this is the paragraph. Paragraphs mark divisions, but because they can mark a much wider range of divisions than the word “suddenly,” the reader doesn’t necessarily know that something unexpected will happen when they get to the next paragraph. As a result, we get:

George lay down in his soft bed, lulled quickly into the depths of slumber by the constant chirps of the crickets outside. He dreamt of cake and cherry pie, and danced a merry jig with the lord of the ladybugs.

The chirps stopped. George was awake in an instant.

For me, at least, this last example is the most powerful because of the abruptness of the switch. There isn’t a clear warning sign in the form of a connecting word; the surprise and suddenness of the event in question is conveyed by the abrupt writing and George’s reaction; the last example shows instead of tells. And, unlike the second example, the paragraph break allows the reader to differentiate between two flows of time; the status quo described in the first paragraph, and the disruption of that status quo in the second. To me, an abrupt breaking of the status quo, with no connecting words but a clear differentiation between two moments in time, is the best way to express surprise.

 
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Posted by on June 3, 2014 in Writing

 

New Projects!

It’s been a little bit since I’ve posted here, but this time I’ve actually been getting some writing done! I’ve finished rough drafts of two new short stories, “Wings” and “Bedtime,” and I’ve been working on another called “The Passing.” “Wings” was the result of a prompt an apartment-mate at university gave me (“buffalo angel wings”), and turned into a very open-ended story about fallen angels, hungry giants, memory loss, and the malleability of reality. “Bedtime” is very short, about 500-word piece exploring what happens if there really is a monster under the bed. I’m currently editing and revising these pieces, and hopefully will be submitting them to be published in as-of-yet-to-be-determined places. The piece I’m currently working on, “The Passing,” was inspired by this scene from Scooby-Doo: Mystery Incorporated, an SB incarnation I have very mixed feelings about. It involves an interdimensional being “passing” through someone’s home in the middle of the night, and interacting with the homeowner in a variety of unsettling ways that drive him to insanity.

Those short stories aside, I have two other projects currently in development. The first is another free online serial novel, in the vein of the dead Astral Tide, but this time with just myself writing. It does, however, borrow heavily from many of the themes present in the earlier work. Beginning June 9th, every Monday I will post a 500-2000 word chapter in the story, which is what I call a “post-Lovecraftian” tale, mixing science fiction, horror, and fantasy in a post-apocalyptic setting in which Lovecraftian monsters have awoken on earth. The setting borrows heavily from the Cthulhu Mythos, and will feature characters and beasts from Lovecraft’s works very prominently. For those of you who are interested, I will direct you to The Eldritch Wastes, where you can read more about it and dive into the short preludes I have been putting up. I encourage you all to check it out!

The other project I’ve been working on is another new short novel-length piece. I got bitten by a really bad plot bunny a few days back, and I’ve been plotting like crazy. The current working title of the piece is Moons Over Sothenheim, and I am aiming for a 50-75 thousand word novel in which capitalism meets Lovecraft. It begins as a science fiction dystopian novel taking place about three hundred years in the future, and follows the troubles of a young woman trying to survive in a Darwinist universe, but over the course of the novel she winds up mining on one of the moons of the frontier planet Sothenheim, where something beyond human comprehension is being exploited by leaders of industry, threatening all human life. In order to ensure that I finish this project (hopefully by the end of this summer, fingers crossed), I will attempt to write the whole first draft in the month of June, in the form of my own Camp NaNoWriMo, complete with weekly updates. So, stay tuned for all of this, and I’ll be back soon!

 
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Posted by on May 29, 2014 in Writing

 
 
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