ICFA Report

On Sunday I returned from the annual International Conference on the Fantastic in the Arts in Orlando. The theme was Metacognition, "thinking about thinking." For the first couple of days, the weather was cooler than usual in March, but still an improvement over Maryland. It warmed up later, with plenty of sunshine all week. Two glitches with the hotel on Wednesday: They didn't have a room available when I arrived; I had to wait until they got it ready -- some other people did, too -- which has never happened before. A fire evacuation interrupted the 4:30 paper session; luckily, it was a false alarm.

Fears of airport delays proved unfounded. Boarding in Baltimore went as quickly as ever, and two nice staff people intervened to help me with two different procedures. It sometimes pays to look old and confused! The return experience in Orlando was almost anticlimactic, in a good way. Security processing took no longer than normal, so I ended up spending several hours sitting around the airport -- much better than being rushed and late.

The Friday night meeting of the Lord Ruthven Assembly, our vampire and Gothic studies organization, couldn't transact any business such as voting for officers because we didn't have a quorum. Nevertheless, we shared some productive discussion about future activities. Then on to the real fun, watching a clip from the early German vampire movie VAMPYR, with an introduction by our film expert, followed by a viewing of the romantic Dracula comedy LOVE AT FIRST BITE.

Thought-provoking talks at the Thursday and Friday luncheons, with buffets upholding the typical high standards of this hotel (well, aside from the distressing lack of chocolate desserts on Thursday). As usual, at each meal we all received free books. Ted Chiang, one of the author guests of honor, spoke in his talk "On Being a Cyborg" about the relationship between technology and cognition, proposing that this connection began with the invention of writing. He mentioned the astonishing fact that preliterate societies don't have a word for "word." For the concept of words as isolated units to develop, we had to see them as such in a text. We're all cyborgs because the alphabet is a technology connected to our brains. He speculated on whether, just as writing emerged as a successor to oral speech, an analogous successor to writing will appear in the future.

The other author guest of honor, Ann Leckie, is the writer of a science-fiction series beginning with ANCILLARY JUSTICE (which I bought a copy of), among other works. The scholar guest, Sheryl Vint, gave a talk about how dependence on AI affects our brains, titled, "Cognition -- Augmentation -- Offloading -- Atrophy." She pointed out that data and knowledge aren't the same, and an overload of data can actually hinder cognition. Does ChatGPT have true cognitive ability? When asked, the program itself paradoxically declares it has no sense of self.

Our Lord Ruthven Assembly panel, "Thinking About Undeath," focusing on vampires, ghosts, and zombies with glances at liches, animated skeletons, and uploading minds into computers (would that be immortality or simply another form of life-in-death?), had good attendance and lively discussion.

Topics of some other sessions I enjoyed included comics, the Mars novels of Edgar Rice Burroughs, vampires in film and TV, fairy-tale logic, Disney theme parks as an attempt to create "hyper-reality," and a provocative discussion on how or whether Neil Gaiman's personal offenses should affect our reading of his work.

In future years, it's been decided that the conference will continue to meet in Orlando, which has many advantages thanks to the organization's long association with that locale, for two years straight. Then, before returning to Orlando, it will rotate for one year each to other cities for the sake of people unwilling or unable to come to Florida. I was thrilled to learn that next year, still in Orlando, Ursula Vernon (aka T. Kingfisher) will be the guest of honor. The conference in 2028, the first "off" year, will occur in Warsaw. So I'll miss that one. Simply too hard for me. Sigh.

Margaret L. Carter

Please explore love among the monsters at Carter's Crypt.

AI Avatars

I recently discovered a long-imagined science fiction trope coming true -- interactive computer avatars of real people. While StoryFile may not be the only company offering this service, it happens to be the one I noticed in the news:

StoryFile

Their slogan: "Bringing History to Life Through Interactive Conversations." As the tagline on the main page explains it, the technology "transforms interviews into AI-powered, life-size conversations for museums and institutions."

The interview consists of a "cinematic, professionally filmed session capturing hundreds of thoughtful responses." In the second step, "StoryFile intelligently links each answer to natural conversational pathways." Users of the finished product "ask questions and receive instant, authentic video responses" in "real-time interaction." Thus the experiences of survivors from World War II, the Holocaust, etc. are preserved and made publicly available.

This process strikes me as legitimate and useful for museums and other repositories of historical resources. The computerized "conversations" are educational and don't claim to be anything they aren't. But what about StoryFile's "Legacies" program? You can arrange to have yourself interviewed at length to create a computerized, interactive avatar, thus enabling your heirs to access your memories after your death. How would this program essentially differ from, for instance, a tape recording or a final video message? In my opinion, the interactive component makes a qualitative difference. The grieving survivors might feel as if they're talking to the actual person.

Might there be a danger of some users being unable to accept the deaths of loved ones because in a sense they can still interact with them? Could mourners become paralyzed by this illusion, trapped in one stage of grief and unwilling or unable to move on?

The next phase of development for this technology, a common SF trope but currently impossible in the real world, would be to upload the actual consciousness of the deceased into a mainframe or, nowadays I suppose, into the Cloud. Would this process constitute survival after death or merely an electronic replica -- or a sort of ghost?

Margaret L. Carter

Please explore love among the monsters at Carter's Crypt.

Oldies But Goodies {Put This One on Your TBR List} Book Review: The Far Reaches Collection (Various Authors) by Karen S. Wiesner

 

Oldies But Goodies

{Put This One on Your TBR List}

Book Review: The Far Reaches Collection (Various Authors)

by Karen S. Wiesner

 

https://www.amazon.com/dp/B0C4TJRRRV?ref=cm_sw_em_r_ao_rw_y8NZEpV1821Ca 

The universe is bigger than we can imagine... 

Look outward beyond the stars with six stories from bestselling visionary authors. With a sweeping sense of wonder, these stories explore the galaxy...and the horizons of humanity’s potential. 

So there's a bunch of short stories published on Amazon in ebook and audiobook (no print editions available) collections in which the basic theme is what all the entries have in common, but none of the stories are actually connected in any other way. In other words, they can be read separately and in any order. I knew James S. A. Corey (a favorite author of mine) had a story in this particular collection and later found out Veronica Roth also did. This first collection I purchased, The Far Reaches, is filled with science fiction tales--right up my alley. I initially only bought the first two stories on Kindle. I didn't realize at the time that you could get a discount for purchasing the entire collection at once. (As a collection, it's $9.94; purchased separately $11.94.) I paid somewhere around $8.38 total for all the books, including tax. I think I got some stories on sale. Amazon Prime members can get them free, you know, somehow (I'm not a member anymore). I was looking for fast, solid reads, and I think I got what I was looking for with this one. They're actually published by Amazon, which I also didn't realize right away. I'm not thrilled with that idea, but I was pleasantly surprised at the quality of the offerings. I was able to read each of them in a couple hours and at least some of them were intriguing, though, of course, several weren't my cup of tea. While I generally don't review stories I don't enjoy, I did in this case because most people will purchase the entire series, so it feels useful to me to give my opinion on all the entries, whether or not I liked them. 

Beware potential spoilers! 

 

"How It Unfolds" by James S. A. Corey (38 pages/53-minute read) 

Summary: In this short story by the author of The Expanse series, technology has been discovered in the future that allows human beings to be sent over space in a packet (much like ebooks!) to other planets already set up with what's needed to try to survive in that place. A tremendous amount of time and planning has gone into this endeavor. Once the packet is delivered where it's intended to go, the human "unfolds" (launches or materializes; is physically in this new place). This doesn't always work, but, as the packets are sent to innumerable worlds, it does occasionally; the success rate is a spectacular failure. One astronaut joins this mission with the hope that his ex-wife, also being sent across the universe in this way (a woman he loves and lost on Earth) will be able to reconcile with him in just one of these countless worlds. 

Review: This very enjoyable, clever little story is quite a feat in that, considering its compact size, it managed to be packed with everything crucial that's needed and nothing extraneous. The account of this love story searching for the right time and place to unfurl was tragically moving, beautiful, and unavoidably a little sad. 

 

"Void" by Veronica Roth (50 pages/70-minute read) 

Summary: Set aboard an intergalactic luxury cruiser that has the unfortunate name of Redundancy, Veronica Roth (Divergent series) tells a very short murder mystery story from the point of view of one of the crew members. 

Review: I was actually pleasantly surprised by this delightful little whodunit. The setting and characters captured me and made me want to know more about all. My only issue was, happily, minor: For the most part, only two dimensions were explored of the sleuthing main character Ace and only just barely enough of either. I wanted a better balance between the external and internal conflicts. The internal was definitely lacking. Brevity is, no doubt, the cause of this shortfall, but it was still an intriguing read, such as it was. 

 

"Falling Bodies" by Rebecca Roanhorse (35 pages/49-minute read) 

Summary: A juvenile delinquent is cleaned up, his appearance and identity changed, so he can be integrated back into the universe. But he's caught between two worlds in this futuristic story, and those worlds are playing a cruel tug-of-war with him. 

Review: I think the one thing everybody has too much of these days are politics. It's constantly being shoved in our faces with social media and the like, and we're being battered raw from it. This story is all about insane politics and "moral majorities". The author set up her character in a no-win situation and proceeded to make him as unlikable as she possibly could. The end result was what you'd expect, no surprise there. I guess I could have avoided the tragedy by not reading it. Too late for me. 

 

"The Long Game" by Ann Leckie (31 pages/43-minute read) 

Summary: In this futuristic story set on another planet, an octopus-like (or at least I got that impression) life-form that survives only a short time learns about life and death and how much of an impact he can make even if he has only a short space of time to do it in, something that can last long after he's gone.

Review: This short tale was both touching and inspiring. If only everyone could realize what good they can do for the present and future of our species just by putting a positive dream in motion catapulted by a little ingenuity and a lot of hard work. All lives are short but our legacies don't have to be. 

 

"Just Out of Jupiter's Reach" by Nnedi Okorafor (45 pages/63-minute read) 

Summary: In this story, the main character is one of only seven others on Earth able to connect with sentient "ship" beings that will explore the cosmos. Five years into the decade-long mission, the chosen seven end the total isolation with their individual ships in order to meet up with the others for a single week. 

Review: As much as I initially enjoyed the extravagant detail in this unusual tale, I couldn't help wondering 1) if there was a point to such fleshing out--i.e., how did it further the story purpose?, and 2) whether the author could have devoted the precious space to more important internal and external conflicts. Ultimately, I found myself disappointed by this story because of the overabundance of set-up aspects and so little to deeper main character development that would have made me not only like but also root for the main character Tornado. For example, very late in the story, we finally learn how she got her nickname. This shocking, tragic explanation from her past distanced me even further instead of drawing me in because all we'd learned thus far of this character was that she didn't like people, in general. and her own life and that of her ship were her sole focuses--a stunning reflection of today's me-focused society. Unfortunately, the potential in "Just Out of Jupiter's Reach" was greater than the actual result, in my opinion. 

 

"Slow Time Between the Stars" by John Scalzi (28 pages/39-minute read) 

Summary: An AI is set to explore to the farthest horizons of human potential and ensure humanity's legacy continues. In the process, it ponders its own purpose and responsibility to its creators. 

Review: I made the presumption that this story would have a plot…you know, in fiction, this is something that actually happens in the process of putting down words. A reader hopes something will happen in fiction, preferably something exciting; otherwise, why? But nothing really does happen in this story. The AI doesn't hate human beings so much as it simply has no love or respect for them. Nevertheless, it goes along with its programming though it's fully capable of changing it. I say it goes along with it up until it sees no reason to proceed with that (foolish) course. Centuries pass as it travels the cosmos. The last few pages tell us (instead of showing) the AI's plan to do the minimum duty to its creators and then it can do whatever it wants. And still, absolutely nothing worthwhile happens. The story ends after the AI informs the reader about what might have been the story if it'd actually been written. Warning: There's no Terminator, no A.I. Artificial Intelligence, no Blade Runner, no Ex Machina here. At this point, I would have been content with a full-on rip-off of something with an AI being trusted by humans or betraying the trust of humanity; just so long as there was a story--any story--actually being told. I guess the best I can say about this one is that at least it was the shortest in the collection. 

~*~

I suppose because I've been reading so many long series for the past year, each having at least three massive tomes, I've been feeling a strong need to find something short that takes me just a few hours to complete. This collection fit the bill if for no other reason than two out three ain't bad. I liked that these were cheap (under twelve bucks for six stories). If I'd purchased them in print, I would have paid probably two to three times more and inevitably been upset about the stories I didn't actually like. This seems like a good trade-off, though I sure hope I like all the installments in the next Amazon Originals collection. 

After I figured out Amazon has a whole slew of these usually genre-tied theme collections (visit https://www.amazon.com/b?node=17506527011&ref=AOS_footer), I purchased the entire collection of Forward (futuristic stories) at once, which I'll be reviewing next month. 

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website and blog here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Oldies But Goodies {Put This One on Your TBR List} Book Review: I Am Legend by Richard Matheson by Karen S. Wiesner

 

Oldies But Goodies

{Put This One on Your TBR List}

Book Review: I Am Legend by Richard Matheson

by Karen S. Wiesner 

  

Be aware that there may be spoilers in this review. 

I Am Legend by Richard Matheson was published in 1954, a post-apocalyptic horror novel that set the stage for zombie and vampire literature that's flooded in ever since. As with many of these types of stories, the concept of a worldwide apocalypse spreads through disease. In this tale, the vampires that populated what was left of the world more closely resembled zombies, despite what the protagonist called them. 

Robert Neville is the last man on Earth. A terrible plague has either killed mankind or transformed them into vampires...and all they want is Robert's blood. Robert's wife, Virginia, and daughter, Kathy, died from the plague. Kathy's body had been thrown in a fire pit. He hadn't allowed that to be done to his wife--he'd tried to bury her, but she came back, and then he had to kill her as he had the others. 

For the past eight months, since the plague infected the population--a plague he himself is immune to--Robert has been surviving the only way he can while systematically trying to get rid as many of the vampires as he can during daylight. By day, he also tries to repair the damage done to his property during the night attacks. He lives by his watch because, as soon as the sun sets, he must be behind locked doors and boarded windows. The vampires are drawn to him every single night, howling, snarling and trying to break through the barriers he's erected to keep them out. They want his blood; they want to make him as they are. He understands little about them beyond that they stay inside by day, avoid garlic, can be killed by a stake through the heart, fear crosses, and dread mirrors. The creatures are white-fanged and powerful, frequently attacking each other because there's no union among them--their need for blood is their only motivation. 

Robert isn't sure how much longer he can do what he's been doing--little by little trying to reduce their unholy numbers. He has no time to slow down and think, because his struggle is never-ending, but eventually he's driven to test the blood of a vampire and finally isolates a germ--the cause of vampirism. Sunlight kills the germ. It's too late to cure those who have already been infected, but, if there are others like him, how can he cure them? 

Robert finds a dog that seems as whole and intact as he is; later, a young woman, Ruth, who's survived all of this as well. Having believed that his investigation into how to destroy the vampires is worthless and that he has no reason for staying alive, the possibility of a life other than his own, a companion, renews his determination to keep fighting. He's clung to the idea all this time that a human being not infected will come, that he isn't the last person on Earth. But Ruth has a secret that could change everything, all he's known since the plague started, as well as his own views about survival.  

Richard Matheson is a master at creating stories like these, where the descriptions of the chilling settings, scenarios, and characters are so robust and realistic, you become convinced you're huddled in a fortress of a house smothered by shrieking, starving and subsequently ravenous creatures who not only want you dead, but want to eat you for dinner--though, in this case, it'll probably be a last meal. Every ounce of torment and torture this lone character feels day after day, endless night after night, is detailed as if you're sitting right next to the character, experiencing the suffocating burden laid on these weary shoulders. The flicker of hope at the potential of no longer being alone is utterly heart-rending. Even if Robert is a man who's grown rusty and bitter, forced into isolation, the reader can't help but be shattered by every blow he takes as if we're also receiving it. 

Simply put, no one can really top this masterpiece that set countless standards in supernatural, creature horror, end-of-the-world fiction. Fittingly, the Horror Writers Association bestowed on I Am Legend the Vampire Novel of the Century Award in 2012. 

As for the author's inspiration in writing it, Matheson credits Mary Shelley's novel The Last Man, where an immune person survived a plague that destroyed the world. Three films loosely based on I Am Legend were made (some under different titles), but the one I like best is the one that actually took the same name as the book and starred Will Smith (released in 2007), though of course none of the adaptations really follow the book version closely, which is kind of a shame. 

Readers would be remiss not to give this influential story a first or subsequent read or a watch, if you'd prefer a more visual medium that can appropriately be enjoyed in the dark. 

Next week, I'll review another Oldie But Goodie you might find worth another read, too. 

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Fevre Dream

A science-fiction explanation for vampire biology. Richly detailed historical fiction set in the antebellum South. A bond of friendship developing between members of two different species. Exploration, through dramatic action and character growth, of philosophical issues surrounding good versus evil and human versus nonhuman. FEVRE DREAM (1982), by George R. R. Martin, has it all.

Yes, THAT George Martin. FEVRE DREAM is one of my all-time favorite "vampire as naturally evolved species" novels. Set in the heyday of the Mississippi steamboats, this story centers on Joshua, a vampire who, orphaned in childhood during the French Reign of Terror, grows up believing himself an aberrant human being. Eventually he realizes that he is neither human nor supernatural (religious symbols have no effect on him), but a member of a species that combines features of the legendary werewolf and vampire. He has been taught the superiority of his family over ordinary people, and he knows he must avoid daylight, but the "red thirst" -- the monthly need for blood -- comes upon him only at the age of twenty, adolescence for his kind. Having always considered himself "superior," he now decides that instead he is "something unnatural, a beast, a soulless monster." Aside from vulnerability to sunlight, Joshua leads a more or less normal life except for a few nights each month. At those times his uncontrollable bloodlust drives him to kill human victims, despite his best intentions. By the time he eventually finds members of his own species, his remorse compels him to seek an alternative to killing. He invents a potion that substitutes for blood, freeing himself and his followers from the "red thirst" or "fever" (hence the name of his steamboat, Fevre Dream). Joshua's rivals of his own kind want to continue ruthless exploitation of their prey rather than living at peace with humanity.

In addition to an early example of a "good vampire-evil vampire" conflict, FEVRE DREAM is a fascinating historical novel about the Mississippi in the mid-19th century. Joshua purchases the Fevre Dream as a refuge for himself and his few allies, and he hires steamboat veteran Abner Marsh as the riverboat's captain. Abner provides the viewpoint through which we learn about vampires. As he grows from horror at Joshua's nature to understanding that vampires, like human beings, are individuals with both good and evil traits, he serves as a representative of the reader who gradually discovers the same truths along with him. One thing I love about this novel is the depth of the relationship between the human and nonhuman heroes as they grope their way toward mutual understanding. One of my favorite lines in all of vampire fiction: When Joshua remarks that his kind have never before revealed the truth about themselves to one of the human "cattle" they feed on, Abner counters, "Well, I never lissened to no vampire before neither, so we're even. Go on. This here bull is lissenin'."

As Joshua explains to Abner, "In English, your kind might call me vampire, werewolf, witch, warlock, sorcerer, demon, ghoul...I do not like those names. I am none of them...We have no name for ourselves." In effect, his people depend for their identity on the distorted perceptions of the human prey they call "cattle." Growing up with the mistaken belief that he's human, unlike others of his kind Joshua feels guilt over killing. This emotion goads him into creating his potion and seeking a way to live without preying on human victims. The fact that his friendship with Abner is vitally important to his new way of life is demonstrated by the book's epilogue, long after the riverboat captain's death. Joshua places an elaborate tombstone on Marsh's grave and visits the site regularly for decades thereafter.

Like many "good guy vampire" novels, FEVRE DREAM uses its vampire species to present a fresh perspective on real-world racial differences and prejudices. In contrast to the difference between human and vampire, culturally imposed distinctions among human beings appear trivial. Joshua comments on the exclusion and destruction of human beings by their own kind in the name of superstition and prejudice: "I have seen your race burn old women because they were suspected of being one of us, and here in New Orleans I have witnessed the way you enslave your own kind, whip them and sell them like animals simply because of the darkness of their skin. The black people are closer to you, more kin, than ever my kind can be. You can even get children on their women, while no such interbreeding is possible between night and day." Also as in many books with similar themes, the evils committed by our kind against other people make the bloodlust of vampires seem relatively mild. Joshua highlights the horrors of war and the crimes of such notorious villains as Vlad Tepes and the woman who "whipped her maids and bled them...and rubbed the blood into her skin to preserve her beauty" -- a clear reference to Elisabeth Bathory. Most vampires, on the other hand, kill only to get blood necessary to their survival. Human criminals such as Countess Bathory commit murder because of "an evil nature," a far worse sin than acting under a biological "compulsion." There's hope for us, though. Joshua's detached view of humanity enables him to recognize the "enlightened" members of the human race, "men of science and learning" who offer the potential for acceptance and cooperation between the two species.

Margaret L. Carter

Please explore love among the monsters at Carter's Crypt.

Attack of the Bloodsucking Plants

The September-October issue of SKEPTICAL INQUIRER contains an article about the "Vegetable Man of West Virginia." This alleged cryptid barely qualifies as a legend, having been encountered by only one person, with the incident publicized by a notorious UFO hoaxer. Still, the peculiar tale has points of interest, even though (like most "true" alien encounter stories I've come across) it reads like an attempt at science fiction by somebody who doesn't know much about science fiction. In 1968, a man named Jennings Frederick, while hunting in the West Virginia woods, claimed he was accosted by a humanoid creature about seven feet tall, with yellow eyes, pointed nose and ears, and arms "no bigger around than a quarter." It communicated, perhaps telepathically, a need for medical assistance. It then grabbed him with its long, thin fingers, pierced his skin with their "needle-like tips," and used their "suction cups" to draw his blood. Its eyes paralyzed him with a hypnotic effect. After possibly no more than a minute, the being disappeared into the surrounding woods, and Frederick heard a "humming and whistling sound" he suspected to be a spacecraft taking off.

In the drawing shown with the article, the creature looks like a grotesquely thin humanoid with wood-textured skin, a weed-like tuft on top of its head, and ears and nose like gnarled carrots.

Of course, blood-draining plants go back at least as far as H. G. Wells's classic 1894 story "The Flowering of the Strange Orchid." Numerous other authors have imitated that premise. It's not totally implausible, given the existence of carnivorous flowering plants such as Venus flytraps. Most memorably, the musical LITTLE SHOP OF HORRORS presents the giant, sapient, talking (and singing) plant Audrey II, which turns out to have an extraterrestrial origin.

If we stop and think about the premise, however, bloodthirsty plants shouldn't be terribly frightening. Unlike the Vegetable Man of West Virginia, Audrey II, Wells's orchid, and other similar flowers described by SF writers are rooted in place. If you have the presence of mind not to get too close to them, they can't hurt you. They would have to either catch victims off guard, maybe by entangling them in vines, or lure them with hypnotic perfumes.

There's another flaw in the notion of hypothetical bloodthirsty vegetation, such as the West Virginia cryptid, invading from a different planet: How could the body fluids of Earth animals nourish them? Our biochemistry would surely be incompatible with theirs. Granted, though, SF writers regularly ignore this inconvenient problem. Wells himself wrote about Martians that live on the blood of Earth-human victims.

"Eripmav," a humorous story by vintage science-fiction author Damon Knight, avoids the issue by making predators and prey inhabitants of the same extraterrestrial world. On this planet, ambulatory, intelligent plants comprise the dominant species. Meat, on the other hand, grows on trees. The vegetable vampire in this story is destroyed by driving a steak (sic) through its heart.

Margaret L. Carter

Please explore love among the monsters at Carter's Crypt.

The Vampire as Alien

In horror fiction and dark fantasy, we encounter two main types of scientifically explained vampires -- vampirism as an infectious disease or as a hereditary condition. In the latter case, if the vampire belongs to a naturally evolved different species or human subspecies (as opposed to, say, a mutation in one family line, although in many stories the distinction is fuzzy or left unspecified), that's what I mean by "vampire as alien." They might either originate on Earth or migrate here from another planet.

In my opinion THE VAMPIRE TAPESTRY, by Suzy McKee Charnas, is one of the best vampire novels of the twentieth century. It’s one of the earliest book-length works of fiction to explore the question, “How would nature design a vampire?” (as the vampire himself rhetorically asks in the first section of the book). The inimitable Dr. Weyland, the sole survivor of his species, so old he remembers no parents or childhood, holds an acerbic view of the human race, the “cattle” he preys on. Although he can’t digest animal blood and therefore must feed on people, to avoid unwelcome attention he usually refrains from killing or seriously harming his victims. He has great physical strength and endurance and extremely keen senses, but no overtly “supernatural” abilities such as transformation or mesmerism. THE VAMPIRE TAPESTRY chronicles a series of events that open him unwillingly to an emotional connection with some of the short-lived creatures he prowls among. He periodically renews himself by withdrawing into a state of suspended animation, to rise decades later with his clear-eyed predator’s perspective restored.

The naturally evolved vampire occasionally appeared in short stories of the classic pulp era, e.g., the vampire child of Richard Matheson’s “Dress of White Silk,” the family of “monsters” in Ray Bradbury’s “Homecoming,” the pragmatic predator in Jerome Bixby’s “Share Alike.” With the veritable explosion of vampire fiction that started in the mid-1970s, however, especially with a new emphasis on vampires as sympathetic protagonists, natural vampires proliferated at novel length.

Miriam in Whitley Strieber’s THE HUNGER, like Weyland, is the last of her species (as far as we can tell in this novel; the sequel, published years later, reveals otherwise). Unlike Weyland, she admits to being lonely, treats her human companions like pets, and tries to transform some of them into creatures like herself -- with consistently disastrous results. Elaine Bergstrom in SHATTERED GLASS introduces the Austra clan, subjects of several later novels. They can interbreed with human beings, and they have tremendous powers, including regeneration from severe injuries, telepathy, and the hypnotic compulsion common to many literary vampires. The nonhuman creatures in FEVRE DREAM, by George R. R. Martin, combine traits of the traditional vampire and werewolf, since they go into a frenzy of uncontrollable bloodlust for only a few days each month. They can’t reproduce with our kind, and their race is dying out because of the infrequency with which their females go into heat. Jacqueline Lichtenberg presents a race of extraterrestrial vampires in THOSE OF MY BLOOD. Stranded on Earth, they’ve interbred with humanity. One faction, the Tourists, regards human beings as simply prey, while the other group, the Residents, has a moral and emotional investment in the welfare of the people around them. These vampires can exert powerful influence over unsuspecting human minds. Octavia Butler introduces a child vampire whose family has been wiped out in FLEDGLING. Her vampires live in symbiosis with human companions who often fill the role of lovers as well as food source. S. M. Stirling's Shadowspawn trilogy, beginning with A TAINT IN THE BLOOD, features a human subspecies underlying all the darkest myths and legends of vampires, werewolves, incubi, ghosts, and sorcerers. It's a homage to and updating of the same concept in Jack Williamson's classic DARKER THAN YOU THINK.

In the design of a natural vampire, many questions have to be answered, leading to practically endless intriguing variations: Can they breed with human mates? Are they solitary or pack predators? Can they consume any food besides blood? If not, does the blood have to be human, or can it come from other animals? Do they have to kill when they feed? Do they have any adverse reaction to sunlight? (Daylight didn’t destroy the classic nineteenth-century vampires such as Carmilla and Dracula, nor were all folklore vampires limited to nocturnal activity.) Are they immortal or only long-lived? What can kill them? What powers do they have? Any psychic abilities?

Many other authors besides the few mentioned here have explored these possibilities. I analyze this theme in fiction from the mid-nineteenth century to the early 1990s in my nonfiction book DIFFERENT BLOOD: THE VAMPIRE AS ALIEN:

Different Blood (This mini-essay first appeared on a now-defunct blog called VampChix. I plan to continue reposting these retro-reviews of older vampire fiction here in the near future. Since they're all over ten years old, and VampChix was taken down quite a while ago, they'll probably be new to our readers.)

Margaret L. Carter

Please explore love among the monsters at Carter's Crypt.

Oldies But Goodies {Put This One on Your TBR List} Book Review: The Island of Dr. Moreau by H. G. Wells by Karen S. Wiesner

 

Oldies But Goodies

{Put This One on Your TBR List}

Book Review: The Island of Dr. Moreau by H. G. Wells

by Karen S. Wiesner 

 

This first edition cover (UK), frankly looks like something the author's kid might have created with crayons. We've come a long way, baby. 

Be aware that there may be spoilers in this review. 

It's hard to imagine the classic horror novel, The Island of Dr. Moreau by H.G. Wells, is 128 years old. It was first published in 1896 and, oh, how it has stood the test of time! This story serves as our earliest depiction of "uplift", which is a science fiction motif where an advanced race intervenes in evolving an animal species to a higher level of intelligence. 

The Island of Dr. Moreau starts with a scientifically trained Englishman named Edward Prendick surviving a shipwreck in the Pacific Ocean. After being rescued by a passing ship, he's cared for by a man named Montgomery. There, he meets who he assumes is Montgomery's manservant, M'ling, a grotesque bestial native. The ship is transporting a variety of animals to Montgomery's destination--the island of Dr. Moreau, his employer. Once they arrive, Prendick is forced off the ship by the captain, and Montgomery agrees that he can stay temporarily, though few ships pass the island. 

It isn't long before Prendick recalls who Dr. Moreau is--formerly a promising, respected physiologist who was forced out of the scientific community once his gruesome vivisection experiments were exposed. Moreau has all but disappeared in the 11 years since. 

Hearing the screams of the doctor's tortured patients on two early occasions, Prendick is driven by compassion out of the enclosed compound into the jungle. There, he begins to piece together the true horror of what's being done on this remote island. He discovers a colony of half-human/half-animal creatures living in the jungle. They're led by a creature called the "Sayer of the Law". They recite over and over their law, given to them by Moreau, their maker, which prohibits bestial behavior: 

Not to go on all-fours; that is the Law. Are we not men?

Not to suck up Drink; that is the Law. Are we not men?

Not to eat Fish or Flesh; that is the Law. Are we not men?

Not to claw the Bark of Trees; that is the Law. Are we not men?

Not to chase other Men; that is the Law. Are we not men? 

When I was a kid and watched the 1977 movie version of this book, the ritualistic chanting made quite an impression on me. It shocked and horrified me that Moreau made them obey his laws or he'd severely punish them by sending him to the House of Pain. To be so far removed from those he's, in one perspective, fathered, to feel so little regret or sorrow for their condition, was inconceivable to me, even at that young age. 

Moreau later admits that these "Beast Folk" weren't formerly men but animals he's operated and experimented on in hopes of transforming an animal completely into a human. With each new subject, he wants to believe he's getting closer to perfection, yet each time they revert to their animal form and behavior eventually. 

The balance in this fragile environment begins to erode with Prendick and his intact sense of morality (something Moreau lacks entirely and Montgomery has been losing steadily, at the cost of his own sanity, all these years) pushing it toward the edge. Seeing Prendick's rebellious behavior toward Moreau and Montgomery, the beasts soon begin retaliating for all their years of pain and suffering at the hands of the true monster in their midst. 

To put this story into the context of the time period it was published, note that in 1896, the possibly of humanity's degeneration was being discussed fervently in Europe. That's a whole 'nother subject that can be embarked upon at the reader's leisure and level of interest aside from this review. However, suffice it to say that several groups rose in opposition of animal vivisection on the basis of the topic, and The Island of Dr. Moreau is the author's reflection on the ethical, philosophical, and scientific concerns and controversies of that time period, most especially inspired by the trial of Oscar Wilde. Wells said in his preface to his collected works that The Island of Dr. Moreau embodies an ideal but otherwise "has no allegorical quality". Sure, whatever. 

Whatever the case, it's just plain a fantastic story of horror and, like Frankenstein, takes the concept of showing the monster being more the ideal of what man should be than the man himself, and, in that way, the man is the true monster. This is a story that I can't imagine anyone not finding compelling. Every part of it is perfectly developed. 

The Island of Dr. Moreau has inspired countless artistic endeavors, more than can be documented in this short review, but each of these is a testament to a story so compelling, even a century later, we're still influenced by the resonating message it proclaims. The countless films that have attempted to follow the book version are mainly all worthy of being watched at least, but it's the novel that, above all, shouldn't be missed. 

Next week, I'll review another Oldie But Goodie you might find worth another read, too. 

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Breaking Encryption

Cory Doctorow begins his latest LOCUS column with a discussion of technorealism and "nontechnical technothrillers":

Rubber-Hose Cryptanalysis

He deplores the "bad art" of the "laziness of treating computers as plot objects with no fidelity to the real world." Nowadays, he says, most SF readers will instantly recognize an unrealistic cryptography-hacking scene in a book or movie. Well, speak for yourself -- I wouldn't, but, then, hard SF isn't one of my favorite subgenres, and I know little more about computers than how to use them as magically enhanced typewriters. However, I'll take his word for the reactions of the tech-savvy audience.

In any case, fidelity to actual possibilities in the parts of a story intended to be realistic always produces better fiction. Even if readers have little to no familiarity with the science or technology essential to the plot, the action won't quite ring true if it's not accurate. Readers will usually sense when the author doesn't really know what he's doing but is "handwaving" details.

As Doctorow explains the current state of the art, modern ciphers are so impregnable to brute force that they couldn't be decrypted that way even within the lifespan of the universe. He cautions, however, that "just because well-implemented encryption can’t be attacked mathematically, it does not follow that your secrets are safe." Even if the cipher itself can't be "broken," the human user can. The criminals or the cops can torture the victim into revealing the vital password. The only thing stopping them is "the rule of law." And, ultimately, the only guarantee of the rule of law is the commitment of governments to respect it. Therefore, "authoritarianism represents an existential threat" in this area as in many others -- especially since our lives now depend on computers in so many ways.

Devising believable methods for villains to "break" encryption by tricking or forcing the information out of the protagonist unfolds endless potential for plot development through exploring characterization and the human element. In Doctorow's words, "Science fiction writers have only barely begun to plumb the many ways in which the flexibility and nondeterminacy of computers, combined with the fallibility of the people who use them, can be used to create high-stakes, high-suspense plotlines."

Margaret L. Carter

Please explore love among the monsters at Carter's Crypt.

Oldies But Goodies {Put This One on Your TBR List} Book Review: The Time Machine by H. G. Wells by Karen S. Wiesner

 

Oldies But Goodies

{Put This One on Your TBR List}

Book Review: The Time Machine by H. G. Wells

by Karen S. Wiesner

 

Be aware that there may be spoilers in this review. 

The Time Machine by H. G. Wells was published in 1895 and is another story by this prolific author that's brilliantly passed the test of time. This forerunner of time-traveling fiction is as amazing now as it was in its own time period. A previous short story by Wells (1888's "The Chronic Argonauts", published in his college newspaper) was the foundation for the novella. 

I resisted reading The Time Machine for a long time because, as I said in my previous review of Timeline by Michael Crichton, I'm not a fan of time-travel fiction, which tends to be convoluted and dependent on too many elements having to converge at exactly the right moment or it simply won't work. In the case of 99% of these types of stories, I find the odds simply too astronomical for me to believe it's possible. And yet in every one of these stories, it does work. Impossibly. And, for the most part, stupidly. So I resisted this pivotal example of one of (the only two, in my opinion) the finest pieces of time-travel fiction available for a long time. Once I finally caved in and read it, it was nothing like I expected with elements of time-travel, yes, but also of horror and adventure, with a post-apocalyptic slant. 

Set in Victorian England (a time period I adore), a gentleman, scientist, and inventor identified only as the Time Traveller journeys into the far future and meets a small, "intellectually degraded", humanoid group called Eloi who live on the surface of the planet along with savage and simian Morlocks, underground darkness dwellers who only emerge at night to capture the Eloi. 

In the  story, the protagonist travels through time for a bit of adventure and goes right back out into other time periods using his machine after returning to tell his friends the tale of the Eloi and Morlocks. There is no deeper reason for his endeavors in creating and using this machine, but many since The Time Machine's publication have attempted to provide answers and justifications and sequels to this very brief story. I must say that I did actually enjoy the 2002 film version with Guy Pearce that gives the Time Traveller a deeply emotional reason for why he (a university professor and inventor) developed a time machine, as well as a name--Dr. Alexander Hartdegen. Follow-ups to the original story do hold appeal, but be sure not to miss the novella that started it all. 

Next week, I'll review another Oldie But Goodie you might find worth another read, too. 

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Oldies But Goodies {Put This One on Your TBR List} Book Review: The Terror by Dan Simmons by Karen S. Wiesner

 

Oldies But Goodies

{Put This One on Your TBR List}

Book Review: The Terror by Dan Simmons

by Karen S. Wiesner 

 

Be aware that there may be spoilers in this review. 

Two irresistible subjects for me are Antarctica and fictional horror creatures. The Terror came close enough to having both of them for me. This 2007 novel by Dan Simmons takes place in the Arctic, the most northern place on earth, while Antarctica is the most southern, but "ice everywhere you look" is a tidy description for both places. Simmons' fictionalized account of Captain Sir John Franklin's lost expedition to find the Northwest Passage from 1845-1848 has everything a boring, dry history book might skim over or even leave out--and it has the goods aplenty.   

The story starts with two HMS ships, Erebus and Terror, trapped in the ice 28 miles north-northwest of King William Island. They've been there for more than a year, their provisions are dwindling, and there's no wildlife to be hunted. But something is hunting them. Called "the terror", this indestructible monster seems to have taken the form of a colossal polar bear with a hideously long neck. Additionally, one of the parties sent out earlier encountered "Esquimaux" (Eskimos) while out on the ice. They shoot the old man, supposedly an accident, and end up bringing the young woman back to the ships with them. When they discover her tongue has been bitten off, they begin calling her "Lady Silence". 

The main character is Captain Francis Crozier, second to Sir John Franklin, who quickly becomes commander of the expedition when their leader is lost. Crozier is initially a drunk (forced into sobriety by a lingering illness) with insecurities stemming from his Irish heritage and his societally unimpressive beginnings which surely led to him being rejected as a suitor by the Captain's own niece. Crozier may or may not have psychic abilities. Other characters of note are Commander James Fitzjames, third in command, an upper-class officer in the Royal Navy. Dr. Henry D. S. Goodsir, an anatomist, considered the least of the four doctors caring for the crews, was a phenomenal character. In his unflagging humility and compassion, he gained the respect of both crews. The antagonist is most certainly Caulker's Mate Cornelius Hickey, who compels a desperate band of rebels to attempt mutiny. 

Before and after the dwindling crew abandons both ships, they're beset with one catastrophe after another in the form of starvation, illnesses and an unending catalog of maladies. It's discovered by Goodsir that the tinned provisions are all tainted with lead from soldering and are often putrid--the result of His Majesty's Navy taking the lowest bid to stock the ships with foodstuffs. Any help from the indigenous tribes is quickly squandered by the cannibalistic mutineer and his despairingly hungry band of insurgents. As if that isn't enough, the "Chenoo" ice monster that pursues them wherever they go seems to have a personal grudge against them. Does the Lady Silence, herself a shaman, know something about that? 

This book is absolutely not for the faint of heart. The landscape is ruthless and bleak (so well written, you'll feel the icy wind at the back of your neck, making you shiver). The themes explored arise from hopelessness, desolation, trapped and depraved conditions, where human beings are pushed right to the edge of humanity as well as sanity. With players being picked off left and right from every direction, you'll soon lose track of who you're rooting for, in some cases, because the protagonist is ripped from the story by a sudden and shocking death. The ending is unexpected and equally horrifying but I was somehow gratified by how it came back around to the beginning. (Beware spoiler below!) 

 

Crozier and Lady Silence, now lovers with children, are the only survivors of the tragedy. Their family comes upon the HMS Terror, still afloat almost 200 hundred miles south of her original "prison". After touring it, he sets it on fire and watches it burn and finally sink, lost to the ice, as the man he once was is and will now always be. 

 

Another reason this massive tome isn't for the meek is its sheer length. The hardcover is nearly 800 pages, larger than even most history books! One other thing threw me a bit--the story opened in medias res ("into the middle of things”), so chronologically, we were put in the middle of the plot instead of the beginning in these opening pages. I normally wouldn't mind that, but I entered a historical-like account in present tense, and whenever I was thrust in medias res, I felt like I was floundering and ungrounded. Luckily, most of the book wasn't written that way, but that nearly kept me from continuing both times I read this book--the first time when it initially came out as a hardcover in 2007 as well in as my recent reading. 

Additionally, Simmons has a very Stephen King-esque style of writing, in that he includes details that you either didn't want to know or would have assumed anyway if he'd just had the good manners to leave them out. Some call such information flavor. I call it bad taste. (I really don't care what color pubic hair or areolas anyone has, nor what someone's body does involuntarily while he's sleeping. Though flatulence did drive one particular plot of King's, I don't know of any other story that actually "benefits" from sensory details like this.) 

In any case, despite a cast larger than most encyclopedias, the characters in this setting, immersed in such a tense plot, are well worth the endeavor of taking on this intense reading project. Nearly twenty years after its publication, it certainly stands the test of time. 

If you're not up for this in-depth read, though, you don't have to miss The Terror's incredible story. There's a TV series that at least starts on the basis of Simmons' novel. The first season, making up 10 episodes, covers the entire novel, and pretty faithfully at that. Season 2 (and the upcoming 3) is also based on another mysterious event with a supernatural twist. Jared Harris as Crozier, Ciarán Hinds as Franklin, Tobias Menzies as Fitzjames, and Paul Ready as Goodsir were standout actors. In whatever form you choose to take in this story, just don't miss it. 

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

RavenCon 18

RavenCon occurred this past weekend in a hotel near Richmond, Virginia. The weather was a bit weird for Virginia in late April. While the days were nice enough, aside from occasional bursts of rain on Saturday -- however, a rainbow appeared, a rare spectacle -- the nights and early mornings got abnormally chilly. The hotel is actually a complex of three buildings, one with guest rooms and two that contain convention spaces, registration desk, restaurant, etc., so people have to either walk outside or go through tunnels between buildings. Happily, buffet meals were available for Friday and Saturday dinners, Saturday and Sunday breakfasts, and Saturday lunch. That was a welcome improvement over last year, when there was nowhere to eat on Friday evening except the bar, overcrowded with painfully slow service, causing us to miss most of the opening ceremonies that evening.

The musical guests included at least two acoustic performers as relief from the relentlessly loud, "energetic" groups that seemed to predominate in previous years. I especially enjoyed the Possum Princess, who has a lovely voice and sings so I could understand the lyrics. (Since I'm not musical, I have a low bar for music performers, and that's my main criterion.) She sang for almost an hour in the art show room on Saturday, allowing one to combine listening to her with admiring the displays. The Guest of Honor was fantasy author Alix Harrow, several of whose books I've read. She gave an engaging interview. She also appeared on a panel about Appalachian folklore and fiction, which I found fascinating and got several book recommendations from. In fact, I ordered two of the folklore-related books right away, and they're arriving this week.

The masquerade/costume contest, surprisingly, had only six entries, but they were all impressive: Harley Quinn (female) from the Batman franchise, Fizzarolli from HAZBIN HOTEL, one of Ken's buddies from the Barbie movie, Bo Peep as seen in the TOY STORY series complete with her sheep lamp, Queen Amidala from the Star Wars universe dressed as the Queen of Hearts (quite a wild crossover idea), and Amalthea from THE LAST UNICORN in human form but with a lit-up horn on her forehead, who won first place.

Some other notable sessions I attended: Darker Disney -- how and why have more recent Disney movies become darker than the vintage ones, if they have? Discussion on WICKED, the book, stage play, and movie (part one), with references to Baum's original series. Law enforcement for writers, presentation and freewheeling Q and A by a veteran in the field. Writing alternate history, with extensive reading suggestions, presented by an author of a trilogy about ancient Romans in North America interacting with Native tribes, among many other books. Panel on Vincent Price's movies, in which I heard about lots of films I was previously unaware of. "Neurofollies," avoiding overused and often false tropes about "brain functions and dysfunctions," a very detailed 90-minute lecture plus Q and A on the structures of the brain and how they work, with slides. "Old-school monsters," how they reflect and deviate from their folkloric and literary sources, well attended and very lively. Favorite world-ending disasters -- how likely the familiar ones are and how to survive them, or try to. Writing RPG games such as Dungeons and Dragons, and what to do if the players veer off in unexpected directions, which had a rather small audience but a nice discussion. I also dropped in on parts of some other panels; the one I most regretted missing the start of was "Eugenics in Science Fiction."

A novel activity occurred during the lunch hour Saturday, an improv live-action D and D scenario in which a three-person party explored the dungeon of the Mad Mage's castle in search of his missing wife. Audience members got to roll the oversized, Nerf-textured 20-sided die for the monsters and non-player characters. Entertaining with some very funny moments.

This was the scheduled "off" year for my husband and me, no panels. Having total freedom in planning our schedule was nice, but I look forward to appearing on panels again at future cons.

Margaret L. Carter

Please explore love among the monsters at Carter's Crypt.

{Put This One on Your TBR List} Book Review: Hunter's Run by Gardner Dozois, George R. R. Martin, and Daniel Abraham by Karen S. Wiesner

 

{Put This One on Your TBR List} Book Review: Hunter's Run

by Gardner Dozois, George R. R. Martin, and Daniel Abraham

by Karen S. Wiesner

 

 

Be aware that there are spoilers in this review. 

Hunter's Run is a science fiction novel published in 2007 and written over the span of 30 years by "three young authors over time": Gardner Dozois (who's credited with the original concept), George R. R. Martin, and Daniel Abraham. I reviewed one of Martin and Dozois' co-edited anthology collections (Rogues) back on June 28, 2024. Martin is, of course, the famed author of A Song of Ice and Fire (HBO's Game of Thrones). Dozois was a science fiction author before he passed in 2018 as well as the founding editor of The Year's Best Science Fiction anthologies (from 1984 through 2018) and Asimov's Science Fiction magazine (1986–2004). Abraham is a novelist best known for his The Long Price Quartet and The Dagger and the Coin fantasy series, and (with Ty Franck) as the co-author of The Expanse science fiction series under the joint pseudonym James S. A. Corey.  

In 1976 Dozois conceived of the story of a man floating in darkness. A year later, he was invited to teach at a summer science fiction writing workshop by Martin, who found Dozois's story interesting. Dozois felt stalled in continuing it so, after three years in a drawer, he asked Martin to collaborate. Martin wanted to explore the alien world of São Paulo. In 1982, Martin couldn't get any further in completing the story either, so he passed it back to Dozois. Neither was able to find a way to progress, and the book went back into a drawer until 2002. Martin brought it to the attention of a young "Turk", author Abraham, who completed it as a novella. Martin called it "Shadow Twin". It was published in 2004. Later, Dozois reworked it into a 300-page-plus novel and renamed it Hunter's Run. Despite how disjointed the writing of this story undeniably was (the full account of the process is included in the back matter of the published novel), it surprisingly does come together in a seamless and cohesive way. At no point in time did I feel like someone (or some two or three) else had written certain aspects of the story. If for no other reason, that does make this "experiment" quite an achievement.

Before I proceed any further, I'll again warn that there's no way to review this book the way I want to without giving away key aspects of the plot. If you want to read the story without being told those pivotal points, go read the book and come back to this review later. 

In this futuristic science fiction, humans have reached the stars but unfortunately alien species including the Silver Enye, Turu, Cian, and others have already claimed the choice worlds. However, these races allow human colonists (mostly the downtrodden, poor, and/or potential lawbreakers) to join in the world-building by crash-testing them on empty planets too dangerous to be colonized by the "worthy". 

The main character Ramón is a thoroughly despicable creep who came to the planet to escape the poverty and hopelessness he faced on Earth. Unfortunately, the capital city on São Paulo is no better. The only law in this place is survival. A prospector, Ramón drinks away whatever money he makes or spends it on the woman he's with, though certainly doesn't love or particularly even like. He's an abusive jerk (though Elena can be described exactly the same way) who ends up killing someone important. On the run in the wilderness "wastelands", he tells himself if he can find a rich mineral strike somewhere, he can start his life all over. He stumbles upon an alien installation. Before he can do anything about it, he's kidnapped by the aliens. 

When he comes to, he's told by the aliens that another man has discovered their location and they have to capture him before he reveals their existence to the human colonists back in São Paulo. Ramón is compelling to join that hunt. In the process, Ramón begins to bond with his captor Maneck. Eventually Ramón learns that the other human intruder was actually the original Ramón that the aliens have cloned to create him--he's the clone of the original Ramón. Despite this, Ramón begins to understand that these advanced aliens also landed on this hostile planet where they're just trying to survive. Cloning humans and trying to learn their behavior is simply a way for them to blend in and co-exist. 

The clone-Ramón manages to escape this captor and meets up with the older, jaded and, frankly, out of shape version of himself, who doesn't recognize him. It doesn't take long for clone-Ramón to realize he really, really does not like the original Ramón. He begins to question his own existence, intentions, and purpose as a result. When the original Ramón discovers who he is, survival is again the only option. The clone kills the original (whoa!) and tries to take up his old life in the capital--which means consequences of the original's crimes and imprisonment. Soon the clone decides he has more in common with the aliens and more chance at a life of peace and purpose with them. 

While all the authors who had hands in this project played with radically different ideas (told in the interviews in the back of the book) for Hunter's Run, at its heart, the theme is in the exploration of what it means to be human. Everything you've read thus far in this review are all the reasons I wanted to love this book. It sounds amazing, doesn't it? The subject matter, the setting, and the concept is utterly compelling to me as a person and a writer. I truly enjoyed the Enemy Mine https://en.wikipedia.org/wiki/Enemy_Mine_(film) overtones that pervaded the interactions of clone-Ramón and the alien. 

To me, the fatal flaw in Hunter's Run (and probably it's earlier version "Shadow Twin" as well) was that the authors jointly made the protagonist--and, by default, his clone--so unlikable and thoroughly despicable that I never got to the point of feeling like his/their story was captivating, nor were they worth rooting for. In his interview in the back of Hunter's Run, Dozois said, "There was an essay by Damon Knight complaining that almost all heroes in science fiction are middle-class white Americans whereas almost no one on Earth is… 'Where is the space hero who is Mexican?'…I made Ramón in the 1970s very stereotypical… We needed to move away from that." Given that glimpse of story creation, I found it highly ironic that the three authors, even working together, ultimately chose to make Ramón stereotypically violent and reprehensible, so much so that it was hard to feel sympathy for him on the basis of the fact that, wherever this man went, he constantly felt he had to fight from every side just to survive. Ramón as a person was portrayed as ruthless, selfish, and vicious. He made bad choices he couldn't blame anyone else for. Regardless of his merciless setting or the environment he was in, he was a man who would always be who and what he was…a creep. There's no sugar-coating that fact with philosophical, psychological, or cultural discourses. 

As the majority of this story was told from the point of view of his clone, who does--to his credit--seem to be at least aware his original self was a jackass, I experienced disappointment that the clone didn't seem significantly changed even after he realized who he was in relation to the original Ramón and admitted to himself he didn't care for his "predecessor". As Jerry Seinfeld said, "adjacent to refuse is refuse". I guess ultimately I strongly need to feel a protagonist is a hero, or more accurately, has the potential to become one through the course of a story, not simply a degree above a villain, as this clone character was. I could in no way conceive that clone-Ramón might break free of any association with his original counterpart. His motives only felt slightly less egotistical and "survival of the fittest" than the original Ramón's. I kind of wish the authors had chosen to tell the story from Maneck's perspective, or at least partially so. 

The end also bothered me because, again, it displayed so pointedly that clone-Ramón wasn't much better than the original. There was no clear resolution. Clone-Ramón escapes prison and heads back to the alien hideout, hoping to find a way to live with the aliens in peace--and the reason he does this is to escape the imprisonment he's facing and to better himself. We never learn whether the aliens are amicable to this. I hate endings that don't provide adequate resolutions. To me, this still feels like a story untold, as it certainly must have at the many stages the authors shelved the unfinished versions. 

While there was a lot to be impressed by here in terms of the thematic explorations which make this tale well worth reading and the masterly world building of these three amazing writers, sadly I didn't actually enjoy it at any point. Still, it's certainly something any lover of science fiction action/adventure tales and fans of these three authors should consider picking up. 

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/