Tag Archives: Hugo winner

DUNE: PART ONE – Denis Villeneuve (2021)

Dune Part One Poster While this is not a movie blog, I thought I’d share my thoughts on the new Dune film that was released yesterday – except in the USA, where it will be released on October 22. For those that are interested, I’ve invested quite some time writing about Frank Herbert’s books and my reread of the Dune series in particular, resulting in a series of long posts – links at the end of this review.

What I will not do is compare this movie to Denis Villeneuve’s other sci fi work, as I haven’t seen Blade Runner 2049 or Arrival – even though I did read both stories on which those were based. I will also refrain from commenting on what David Lynch did or didn’t do better with his 1984 adaptation – I’ve seen that movie multiple times, but it has been years, and my memories of it are sketchy to the extent I can only say two things about it: I liked it, but the movie probably won’t make much sense to somebody that hasn’t read the book.

I’ll simply try to give an honest appraisal of how I experienced the new film, based on just one viewing. I have no intention of writing a lengthy analysis, nor add to the Twitter bloodsport on Sharon Duncan-Brewster as Liet Keynes or the White Savior Myth.

So, is the movie any good? Does it do the book justice? The short answer is a double yes, loud and clear. The longer answer needs a bit more words. No spoilers, I promise.

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STARSHIP TROOPERS – Robert A. Heinlein (1959)

Starship Troopers Jerry RobinsonMuch has been written on this seminal title by one of SF’s most famous authors – especially about the book’s alleged fascism, satirized by the 1997 Paul Verhoeven movie. The Wikipedia article lists 104 references, and has fairly long sections on the themes and their reception.

I don’t feel like writing an in-depth analysis this time, so let me try to break things down in a few short paragraphs. Reading experience first, politics and a bit of ethics second.

Starship Troopers is a rather fast paced military procedural novel. There’s much less action than I expected – especially in comparison to the movie: the novel focuses on the training and promotion of the main character, Juan Rico. There are a few battle scenes, but the bulk of the book focuses on the organization and procedures of Earth’s army. Continue reading

A CANTICLE FOR LEIBOWITZ – Walter M. Miller Jr. (1959)

A Canticle For LeibowitzWhat to write about this one? A Canticle for Leibowitz is one of science fiction’s most classic texts, and as a result it’s on the 4th place of the cumulative Classics of Science Fiction list, right behind The Left Hand of Darkness, Dune & The Dispossessed.

It is also widely read outside the science fiction community, and that gets you long articles in The New Yorker over 50 years after it was first published. This isn’t just sci fi, dear readers, but serious Literature too!

I’ve reviewed two other post-apocalyptic books the last few months – The Wild Shore & The Day of The Triffids. A Canticle has a wider scope in time than those novels, chronicling events after a 20th century nuclear holocaust in the 26th century, in 3174 and in 3781. At the same time, it feels just as provincial – even in the third part, when humanity is trying to colonize space. This is because Miller focuses on one community, in an American abbey founded to preserve the few scraps of knowledge that survived the Simplification – a purging revenge against science, scientists & literacy.

For those of you not familiar with the book, I’ll first write up a few basic facts and zoom in a bit on Walter Miller Jr.’s tragic life story. Continue reading

SAGA: Book One – Vaughan & Staples // HERE – McGuire (2014)

Two reviews of comics / graphic novels this time – very different in content, tone and style. Both editions were published in 2014, and both have speculative elements – Saga has nothing but, Here only very sporadically dips into the future.

The McGuire goes back to his groundbreaking 6-page 1989 comic strip of the same name. The Saga series was started in 2012, and is on hiatus for the moment. Its first trade paperback collection won the 2013 Hugo Award for Best Graphic Story – it is a blend of space opera & fantasy.

Saga nahhh

Here dancing

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A MEMORY CALLED EMPIRE – Arkady Martine (2019)

A Memory Called EmpireArkady Martine’s debut novel just won the 2020 Hugo and is shortlisted for the Clarke, so indeed, it has all the hallmarks of what people seem to like: a picture of a sprawling throne on the cover, and a “glossary of persons, places and objects” at the end.

There’s much to like in this book, especially a “cunningly plotted” story of palace intrigue centered around the new ambassador of a mining station in the capital city of the galaxy spanning Teixcalaanli empire – an empire that loves literature and poetry, and an empire in the midst of a succession crisis.

So let me be upfront: this was an okay book, a nice book, an entertaining book, a Tor book, and I’d even recommend it if you need your contemporary space opera fix. But at the same time, it was very, very generic. Maybe that calls for a checklist?

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CHILDREN OF DUNE – Frank Herbert (1976)

I’ve written a lengthy analysis of Dune, and of Dune Messiah too. My text on Dune focuses on the issue of Paul as a tragic hero, without free will, and has some notes on the book as a literary construction. The one on Messiah compares it with the first book, and also deals with its relationship to the concept of eternal recurrence – a strong Nietzschean undercurrent that ties into Paul not being an Übermensch – and with the relationship between prescience and the absence of free will.

I’ve tried to keep overlap between this text and the previous ones to a minimum, so if you’re interested in a deep desert dive, please read those first.

Children of Dune Di Fate

“The landscape which met their gaze was beyond pity, nowhere did it pause – no hesitations in it at all.”

There is something relentless to Children of Dune. It was the most difficult hurdle yet in my project of rereading the entire series.

It is a bit of a surprise this became “the first hardcover best-seller ever in the science fiction field” and also won the 1977 Hugo, because there is undeniably truth in David Pringle’s assessment of the book being “convoluted stuff.”

There’s a paradox to this very review and how it determined my reading experience, and it has to do with that convolutedness. Because I knew I wanted to write this text, I read Children carefully – maybe too carefully, taking notes, trying to figure things out. Especially in the second half of the book, that left me gasping for air at times, unable to figure out what Herbert wanted to do, lost in the mystical ramblings about visions and futures, focusing on inconsistencies or what I thought were inconsistencies. It took a bit of joy out of reading.

At the same time, I did like the overall plot a lot, and could see Herbert had actually managed to tell yet another great story with perfect pacing, especially when the action kicked in: his characteristic style of cutting between short scenes with lots of dialogue somehow delivered the goods again. All that left me with about a 3 out of 5 stars tally, a bit in line with when I first read the series, and I then thought book 2 and 3 were the weakest of the six.

But when I started to reread (and reread and reread) all the quotes I had marked to get a better grip on the book’s difficult stuff, I actually understood more of it, and most inconsistencies dissolved. So yes, this review at times wrecked my reading – instead of just riding the flow, I focused too much on trying to understand – but in the end it also reconciled me with the book. That leaves me with a 3.5, maybe 4 star rating, because I still think Herbert could have cut back some on the mystic philosophy, without actually hurting its core.

In what follows, I first tried to write something of a review of the book: strengths, weaknesses, characters, you know the drill. I primarily focus on Alia as tragic figure, and also discuss an important thing that remains unclear & possibly inconsistent: Paul’s relationship to the Golden Path.

For those that want to dive in even deeper, after that first part, I zoom in on four very specific subjects: how I think ‘change’ is the central concept of this book, the prevalence of a Nietzschean Amor Fati, the book’s relationship with Nietzsche’s morality beyond good & evil, and finally, free will and its relation to Leto II’s specific version of prescience.

Both parts are a spoiler bonanza, but I guess this kind of writing will not appeal to those who haven’t read the books anyway.

The text is heavy with quotes, but I wrote it so that you can still follow the logic if you skip them – except once, and I’ll warn you there. The quotes are for the die-hards. I had 9504 words selected out of the book, of which I used about 6200. Add to that my own 4400 words, and abracadabra …another long read, totaling 10630 words. It is what it is, I couldn’t help it. A full, thorough discussion of the book needed those.

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THE GODS THEMSELVES – Isaac Asimov (1972)

The Gods ThemselvesFrom 1958 tot 1972 Asimov did not write science fiction, so The Gods Themselves was a sort of comeback, and it went on to win the Hugo, Locus & Nebula. It’s heralded as “His single finest creation” by the Encyclopedia of Science Fiction. In 1982 Asimov himself expressed this to be his favorite science fiction novel. High praise all around.

A story in three very different parts, it is set in 2100, and deals with a possible unbalancing of the cosmos because of the Electron Pump – new technology that delivers clean, abundant energy. This unbalance might obliterate Earth.

The first part deals with the science behind it, and with the social problems inherent in doing science: it is a critique of ego before truth, and the petty competition between men. The second part deals with aliens – the first time ever Asimov wrote about aliens – in a parallel universe, aliens that are responsible for the Electron Pump. The third part is set on the moon, and is about scheming to resolve the problem.

It is a visibly constructed story: Ken MacLeod even speaks of “dialectics” in the pompous introduction to my 2012 edition, and indeed, as a construction it certainly has a charm, and Asimov’s craft is undeniable. Yet at the same time it sucks a bit of life out of it too. Wooden characters obviously don’t help that, especially not as most of the story is told through dialogue.

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EXHALATION – Ted Chiang (2008)

ExhalationI was conflicted about Stories of Your Life and Others, Ted Chiang’s much lauded first collection. There’s something about this guy: he can write – but are these really, truly stories?

So at first I decided to skip Exhalation: Stories, his second collection, published in 2019. But then I read a glowing review on Speculiction that dubbed the title story “one of the greatest science fiction stories ever written”. It also won three major awards: the Hugo, Locus and BSFA. As it is available for free on Lightspeed Magazine’s site, I decided to read just that.

It turned out to be a typical Chiang story: exquisitely crafted, good prose, convincing atmosphere, smart ideas. But sadly, for my taste, it’s also a bit too didactic, for two reasons.

It tries to convey a message – the clichéd ‘be thankful for the wonder of existence’, but more importantly, because it follows the typical Chiang template: he read some interesting stuff, and tries to mold his newfound wisdom into a story. Continue reading


Bloodchild and other stories

Lists are fun. Hence me browsing the fantastic Classics of Science Fiction, an aggregated ranking site by James W. Harris – who blogs about sci fi and getting older over at Auxiliary Memory. I saw that Bloodchild by Octavia E. Butler was ranked as the most cited (i.e. best) science fiction short story. For what it’s worth, it also won a Hugo, Locus, Nebula & SF Chronicle award. As I hadn’t read anything yet by Octavia Butler, I thought Bloodchild would be a good place to start. I found a cheap second hand copy of Bloodchild and Other Stories easily, and here we are.

There’s a couple of editions of the collection. The copy I got was published in 1995, and that has 5 stories, plus 2 essays. From 2005 onward however, it has been printed with two more stories – Amnesty and The Book Of Martha, both written in 2003. I did some googling and I found those easily, here and here – I’ll review them too. The fact that I chose to look online for the additional material is telling: this is not a bad collection – and that from an author who opens the preface to her collection with this line: “The truth is, I hate short story writing.”

It’s somewhat of a behind the scenes publication: each story is followed by an afterword of about 2 pages, in which Butler talks a bit about what she wanted to do with the story or how it came about. They are generally interesting, nothing spectacular, but nice enough. There’s also 2 short essays on writing, and I’ll say a few words about those later.

I’ll just do a quick write up of each story and a wee bit of concluding thoughts. This’ll be a fairly short review for a short book: 145 pages in my edition. Here we go:

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DUNE – Frank Herbert (1965)

Dune (Folio Society)I’ve read Dune for the first time 7 years ago. A year later, I finished Chapterhouse on the day Iain Banks died. I loved the series so much, I tried some of Herbert’s other books too – they all proved to be duds, except for Soul Catcher. I even read what Brian Herbert and Kevin J. Anderson concocted as what was supposed to be the finale, Dune 7 – the so-so Hunters of Dune and the god-awful Sandworms of Dune.

Rereading is always a risk, and I hardly do so. Taste evolves. The thing is: when I first read Dune, I wasn’t that well versed in science fiction. I’d read about 5 Culture novels, Anathem by Stephenson, maybe the Foundation trilogy. I might have been easily impressed. 7 years later, I’ve read a whole lot more of speculative fiction: about 240 titles says my Worlds Without End database. I’ve tried to be broad in my approach, reading older stuff and newer stuff alike. Today, I’m a different judge.

This time, I read the fantastic Folio Society edition, which has an excellent essay by Michael Dirda, and an interesting afterword by Brian Herbert. It’s good to see confirmed that Dune indeed was revolutionary. A book much longer than most other novels of its day – other titles were only a quarter to a third of Dune‘s 215,000 words. That meant an expensive book – “in excess of 5 dollars”, the highest retail price yet for any science fiction novel. And it was not only revolutionary because of its size – it was also an untold commercial succes. While initial sales were slow, it got the Nebula and Hugo awards, and by 1970 the book began to sell well. The sequels became bestsellers too, with sales running into the millions. By 1979 it sold over 10 million copies, and when David Lynch’s 1985 movie adaptation was released, Dune reached no. 1 on the New York Times bestseller list, 20 years after its first publication. Frank Herbert was “the first [science fiction] writer to obtain such high level of readership.”

So, what has this reread told me? What to write about the most lauded science fiction book of all time? Well, easy! That it is within rights and reason to call this one of the greatest books ever – if it falls into your taste range.

My guess is that it will still be read a century from now.  Dune has a timeless quality: ditching computers was a genius move by Herbert. In Destination: Void – which was first published in Galaxy Magazine around the same time as Dune – Herbert took the opposite route, embedding a great thriller in pages and pages of computer babble. Even though that babble was realistic at the time, it utterly fails today. Not so with Dune.

There’s hardly anything that can age in this book. Some have argued that the feudal structure of the galactic empire is unrealistic for a far future human world – and as such dated in the 21st century – but that is an utterly naive, Western centrist thought. If the last decade has taught us something, is that we should not take democracy for granted – especially not as global turmoil has only just began at the dawn of disruptive climate change. Who’s so arrogant to claim they have a clear grasp on the arrow of time? Hegel fans? Hari Seldon?

Before I’ll try to shed some more light on why this book remains such a joy to read in 2019 – brace yourselves for a 5444 words analysis of both form and content – let me tackle a bit of critique first. I’d rather have that out of the way, and let the rest of my text be an unapologetic celebration of Herbert’s creation.

(There will be some spoilers throughout, including minor ones about the next 3 books in the series.)

Not everybody likes Dune. Blogger Megan AM, in her 2014 review on From Couch To Moon, worded her problem with the protagonist, Paul, as follows:

If he’s cold, the reader doesn’t care what happens to him. If he’s infallible, he’ll survive every conflict. Wrap him up in a nice blanket of spiritual powers and preordained destiny, with a powerful clan to serve him, and you’ve got the makings of a demigod whose story is predetermined. Dune is worthy warning against allegiance to charismatic personalities, but it’s D.O.A.

Gender pops up a bit further in her review:

Unfortunately, I suspect that many Dune fans actually admire the unearned arrogance of our rich noble-born leader. I worry that Paul’s behavior toward his women and his clansmen actually appeals to many males in the SF community. Paul is in control of everything—his emotions, his actions, his thoughts… even his followers. Even Paul’s mother recognizes his calculating moves as manipulative and unfair. “You deliberately cultivate this air, this bravura,” she charged. “You never cease indoctrinating” (p. 620). How incredibly appealing to a young male…

I think both issues are partly the result of a biased reading – admittedly, something we are all prone too. Yes, older fiction is up to “contemporary dissection” – but the text itself has its rights.

I fully agree that the hero in Dune appeals to readers because of his control, among other things. But there are two problems in Megan’s gendered reading. First are some facts residing in Dune itself. Also Jessica – and to a lesser extent Chani – are in control. They too are heroes of the book. There are other characters who are just as calculating and manipulative, and some of them – all of the Bene Gesserit – are female. Focusing on Paul’s male biological sex seems strange in that light. Moreover, when Paul becomes the Kwisatz Haderach, Herbert explicitly frames this as a fusion of 2 genders, Paul becoming both taker and giver, male and female. Sure, one could debate the problematic dichotomy of that – but either way these facts show the analysis of Megan is a bit superficial.

A second problem is Megan’s own portrayal of “young males” and “many males in the SF community”. I’m sure there are quite a lot of women too who want control over their emotions, thoughts, actions. I think Megan too easily frames Paul’s behavior as a problematic masculine ideal.

To end this first part of my review, let me get back to Megan’s first quote. Paul is “cold” and “infallible”, a “predetermined” “demigod”, and all that could make readers not care for him. Megan is fully right about the predetermined part, but I think exactly that is one of the crucial strengths of the book – I’ll get to that in more detail after the jump.

Yet cold and infallible? One could maybe argue about cold –  it is partly in the eye of the beholder – but again, the text itself has its rights. Paul gives moisture to the dead! He does mourn his father – he only has to postpone it, due to the situation he is in. That doesn’t make him cold. It makes him tragic. He has intense friendships with Stilgar and Gurney Halleck. Near the end, he is upset by his mother’s cold shoulder. He struggles emotionally with his own role. And maybe most importantly: he loves & respects Chani deeply, in an explicitly tender way – the ending pages are proof of that. I agree Herbert doesn’t devote lots of page time to these aspects, but they are there. Clearly.

A reader is well within his or her right to think Herbert should have devoted more time to the characters’ emotions – and granted, characterization is not the book’s main focus – but the claim that Paul is cold is not how I experienced it.

One cannot argue about infallible though. Paul fails. He fails spectacularly. Yes, he dethrones the emperor, he marries the princess. But all that is just superficial pomp, not at the heart of this story. It strikes me as odd that Megan AM didn’t mention this. Paul’s failure is even double.

One: his own son is killed. It is one of the pivotal moments of the book – even without taking into account the strong emphasis Herbert puts on the importance of genes and bloodlines. More so, the death of his firstborn is one of the pivotal moments of the entire series, with possibly galactic repercussions. “He felt emptied, a shell without emotions. Everything he touched brought death and grief. And it was like a disease that could spread across the universe.” Two: Paul’s main drive in the book is to prevent the jihad, yet he fails to do so. That only becomes fully clear in the sequels, but still, it is spelled out explicitly multiple times.

Herbert didn’t write Paul as a true masculine infallible hero. He is noble-born, strong and superbly trained, yes, but he is more than that, and morally ambiguous. It is when his firstborn son dies that – maybe? – Paul embraces jihad as cosmic revenge for all the suffering he had to endure. “Something seemed to chuckle and rub its hands within him. And Paul thought: How little the universe knows about the nature of real cruelty!” Herbert doesn’t spoon-feed it to the reader. It is unclear how to interpret that italic sentence, but either way, it is one of many that makes Paul human – somebody this reader could connect to.

Before I’ll dive into a more substantial analysis, the following needs emphasis: reading Dune was even better the second time around. One part of that is that I was familiar with its world – the first half can be tough on new readers that don’t know what’s going on. Another part is that I have become more experienced as reader, seeing both the book’s literary mechanics and its philosophical implications much clearer – and because of that I appreciate it all the more.

Books that can be reread don’t hinge on novelty & surprise alone. There is no better testament to what Herbert achieved artistically. Please join me in celebrating the how & what of Dune some more!

I’ll first highlight a few technical issues: Herbert’s prose, his plotting power – including a detailed case study of the first knife fight, between Paul and Jamis. After that, I’ll zoom in on Dune‘s tragic philosophical content.

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GATEWAY – Frederik Pohl (1977)


Gateway is a famous book. It’s one of the few novels that won 4 major prizes: the Hugo, Locus, Nebula and Campbell award, and it’s on numerous essential SF lists.

While it’s perfectly self-contained, Pohl wrote 5 sequels: Beyond The Blue Event Horizon (1980), Heechee Rendezvous (1984), The Annals Of The Heechee (1987), The Gateway Trip (1990) and The Boy Who Would Live Forever (2004). Together with the 1972 novella The Merchants Of Venus, and The Gateway Trip – a short story collection that appeared in 1990 – these books form the Heechee saga.

The Heechee are a mysterious alien race that explored our Galaxy hundreds of millennia ago. Near Earth, they left structures on Venus, and – crucial for this novel – a space station in an asteroid, including functional spaceships. Humans can operate these, but don’t really understand the technology.

The basic premise of Gateway is brilliant: humans embark on voyages in these ships, but it’s a bit of a lottery. Most of the time, crews do not know where they’ll end up – there might be proverbial gold at the destination, but more likely it’ll be just a barren planet, or worse, mortal danger. The link with prospecting in the Wild West is easily made.

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AMERICAN GODS – Neil Gaiman (2001)

American GodsI’ve only seen the trailer of Starz’s adaptation of American Gods, but that firmly set the face of Ian McShane as default for one of its main characters – Mr. Wednesday, an incarnation of Odin. Ian McShane plays Al Swearengen in HBO’s brilliant – and sadly uncompleted – Deadwood. The mannerisms of that cunning brothel owner suit Mr. Wednesday well, and as books aren’t read in a vacuum, my Mr. Wednesday turned out to be an incarnation of Mr. Swearengen. Kind of fitting for a book about the dark side of Americana, and the casting people of Starz must have thought so too.

American Gods is Neil Gaiman’s most famous and acclaimed book: it won the Hugo, the Locus Fantasy, the Nebula, and the Bram Stoker award. Worlds Without End has it as number 6 of their most read books, and it’s on spot 2 of their list of SFF’s most nominated books.

I guess most people reading this know what the book is about: “gods and mythological creatures exist because people believe in them. Immigrants to the United States brought with them spirits and gods. The power of these mythological beings has diminished as people’s beliefs waned. New gods have arisen, reflecting the American obsessions with media, celebrity, technology, and drugs, among other things.” The book’s protagonist, Shadow, finds himself at the center of a conflict between the old and the new when he is recruited by Mr. Wednesday, just after being released from prison.

I’ve read the 10th anniversary edition, which added 12.000 words that were cut for the first version, and the praise on its back cover leaves no room for doubt: this is speculative fiction of the literary kind. I’ve written about speculative fiction’s obsession with Literature before, so I will not repeat that here, but rest assured, American Gods is no pulp indeed. Not being pulp does not make it a masterpiece either, so let’s start this review already. Continue reading

STAND ON ZANZIBAR – John Brunner (1968)

Stand On ZanzibarJudith Merrill called Stand On Zanzibar “the first true SF novel”, and in his introduction to the 2011 edition Bruce Sterling calls parts “radically antinovelistic” and the book in general a “unique formal achievement”. Let me assure you, dear reader, such hyperbole statements are bollocks. I’ve written about some SF-readers’ real literature frustration before, and I won’t repeat all that here. It seems that some people still need to be told that what they are reading is really True Art, and really worth Their Time.

Sterling goes on to compare John Brunner’s first non-pulp novel to George Perec’s 1978 La Vie mode d’emploi in an attempt to make Brunner’s book more formally visionary than it actually is: it predates the English translation of that ‘real’ literature masterpiece by 20 years. While doing so, he almost casually brushes aside the formal comparisons to Dos Passos’ U.S.A., a trilogy from the 1930s that uses the same narrative techniques. Sterling claims Dos Passos doesn’t really count, as he was an “naturalistic” writer, and Brunner “antinaturalistic”. Content is not form in my book, so “unique formal achievement”? Yeah right. And in Dutch Louis Paul Boon already wrote an even more radical cut up book right after WW2.

Maybe it was unique in the context of SF. Brunner might have been the first speculative writer to put all these techniques together in one book: I’m not widely enough read in pre 1968 SF to verify this. But its partial techniques were tried & tested, in speculative fiction too. I’m guessing books that alternate the big storylines with smaller storylines or vignettes can be easily found. The habit of inserting made up texts from the future period somebody is writing about is not unheard of either: just look at this list of fictional books Frank Herbert quoted from in the Dune series. Asimov did the same in the early 50ies. And Tolkien had fictional song and verse too.

All this is not to shit on Stand On Zanzibar, as Stand On Zanzibar is a masterpiece.

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THE DISPOSSESSED – Ursula Le Guin (1974)

The DispossessedThe Dispossessed is a famous book: it won the Hugo, the Nebula and the Locus awards, and it tackles a tricky subject: politics. It is set in the Hainish universe, on two twin planets. On Anaress, a group of dissidents founded an anarchist syndicalist society that has been going for about 2 centuries when the book starts. The other planet, Urras, has three states, of which the most important ones are modeled on the USA and the Soviet Union.

The book follows Shevek, a brilliant physicist from Anaress who, in a gesture of dissent, travels to Urras, hoping to be able to finish his revolutionary theory about time there.

Theodore Sturgeon praised The Dispossessed, saying “it performs one of [science fiction’s] prime functions, which is to create another kind of social system to see how it would work. Or if it would work.” I don’t fully agree, as I didn’t feel I was transported to another world: the cold war politics alert sign was constantly flashing.

That is my main problem with the novel: it is so obvious, and so obviously about Earth, I always felt Le Guin’s intentions, instead of feeling a story. It is no secret Le Guin has leftist sympathies, and also in this book it is clear where her heart lies: sure, Anaress has its problems, but it is liberal about sex, it is pro-gay, feminist, and people don’t eat meat. There are only two big problems on the planet: it’s arid and doesn’t easily grow food; and the anarchy syndicalist system of the Odonian society slowly evolved into a bureaucracy, with stagnating power structures popping up.

The fact that this book is praised so much seems to me the result of a couple of things, that at the same time explain why The Dispossessed didn’t fully work for me.

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THE DEMOLISHED MAN – Alfred Bester (1953)

The Demolished ManWhat to write about this first ever winner of the Hugo award? The main conclusion must be this: times have changed. The CIA had a secret program (‘Project MKULtra’) trying to gain insight into mind control during the 1950s and the early sixties. Arthur C. Clarke dabbled in the paranormal: see the few lines I quoted from the foreword to Childhood’s End – also published in 1953, Asimov had telepaths living in a second Foundation, and Frank Herbert wrote The Santaroga Barrier as late as 1968. It were trippy times, and the belief in the potential powers of the mind was hopeful and naive.

Is this book science fiction? Not because it’s set in 2301 AD, as that doesn’t matter for the story: it could have been 1981 AD just as well. Not because it features Venus or Ganymede as locations, as that doesn’t matter either, it could have been Hawaii and Malawi too. The fact that humans colonized the solar system is not explored one bit – the most comical moment of the book is when a character wonders if he’ll catch the “10 o’clock rocket” to someplace off-planet. Not because cars are called jumpers and can fly. And not because the judge is a computer, as that could have been any bureaucrat.

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