Tag Archives: Science Fiction

HERETICS OF DUNE – Frank Herbert (1984)

This is the 5th post in a series on my reread of the Dune books. It became yet another lengthy text of about 11,600 words, the longest in the series so far. I’ve also written long analyses of Dune, Dune Messiah, Children of Dune and God Emperor of Dune.

My text on Dune itself 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 looks at its relationship to the concept of eternal recurrence – a strong Nietzschean undercurrent that ties into Paul not being an Übermensch – and at the relationship between prescience and the absence of free will. The article on Children is over 10,000 words long and deals with the tragedy of Alia, change as a key concept in the series, a Nietzschean morality beyond good & evil, and Amor Fati, among other things. My text on God Emperor is nearly 9,000 words and examines Leto as the most tragic character of the series & the conceptual knot. It also examines the nature of the supposed cautionary tale Herbert meant to write, and the introduction of non-mechanical world building in the series – contrasting with its prior central theme of the absence of free will. There’s also bits on the mechanics of no-room shielded prescience, the Golden Path, change & creativity, and various inconsistencies in the novel.

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.

Heretics of Dune (Schoenherr)A view that’s pretty pervasive is that the first three books are the best, and that Herbert kinda lost it afterwards. I don’t buy into this narrative. While I enjoyed Messiah, I also thought it was a dumbed down version of what Herbert did with Dune itself. Children had a great story, but also felt a bit convoluted and unclear. The overarching plot in the first two sequels is straightforward however, with a time frame that’s united, and characters that easily tie into the first book. As such it is fairly easy to grasp. It is only with the unplanned fourth book, God Emperor, that Herbert truly takes another canvas and paints something new, 3500 years after the original trilogy, and in the process he puffs up the attempts at philosophy. I think that book fails as philosophy, but at the same time it is a testament to an outrageous imagination. It’s understandable that readers who read Dune mainly for the action and sensawunda got bogged down in God Emperor, and cut their losses. But it’s also shortsighted, as Herbert picked up the pace again with Heretics.

Word has it Herbert planned another trilogy to finish the entire series after the pivotal God Emperor, and indeed, the story of Heretics of Dune is immediately continued in Chapterhouse: Dune. Frank Herbert died in 1986, but it’s not that hard to imagine he had indeed one final volume outlined – something his son Brian and Kevin Anderson tried to cash in with Hunters of Dune and Sandworms of Dune. And cash there was, as Herbert “received what was said to be the biggest contract ever for a science fiction novel” for Heretics of Dune. It came out in March 1984, right after his wife Beverly died of lung cancer on February 7th. She had been battling the disease for 10 years.

Now that I’ve reread it, I feel that Heretics resembles Dune most of all the sequels. It’s not dumbed down nor convoluted, it’s fairly clear, and it again has the right mixture of imagination, action and political scheming. But while Dune for me was a straight 10 that even got better when I reread it, Heretics doesn’t even come close, even though it is the best of the sequels I’ve reread yet.

In what follows, I’ll first dissect some of the novel’s problems. At the end of that section is my overall appraisal of Heretics, and an examination of certain parallels qua plot & personnel with the first Dune, so this first part of the analysis doubles as a review of sorts. As the dissection will deal with the pulpy plot, I will have to spoil some of it.

Afterwards, I’ll examine some of the book’s core concepts. As Heretics puts the Bene Gesserit front and center, I will try to gauge their motives first, however murky they are. Also heresy, variation & love get a section, and the final focus will be a major shift in the series, as this time, under the influence of Einstein and quantum theory, Herbert casts prescience not as something passive, but as an active, shaping force. This sea change alters the ontology underlying the series drastically, in the sense that they might even be incompatible. This is no fault per se: about 20 years have passed between writing Dune and Heretics, and it would be odd for a writer to still hold the exact same beliefs after two decades. As change was such an important concept of the series so far, it is also fitting.

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A SCANNER DARKLY – Philip K. Dick (1977)

A Scanner Darkly (Pepper)A Scanner Darkly isn’t really science fiction: PKD didn’t want to publish a mainstream literary novel as his previous attempts had been failures. The publisher suggested Dick to put in a few bits of strange technology (the scramble suit) and set its timeline in 1994, so that it could be marketed as science fiction.

The book is a semi-autobiographical story based on Dick’s own struggles with drugs in the early 70ies. In this troubled period, he took amphetamines full time, and stopped writing all together. He talked about it in a 1977 interview with Uwe Anton and Werner Fuchs:

“But on the drug thing, what happened was that after my wife Nancy left me in 1970, I was in a state of complete desolation and despair, and suicidally depressed because I really loved her. She took my little girl with her, who I really loved, and I didn’t see my little girl for – I saw her only once in a whole year, just for a few minutes. I got mixed up with a lot of street people, just to have somebody to fill the house. She left me with a four bedroom, two-bathroom house and nobody living in it but me. So I just filled it with street people and I got mixed up with a lot of people who were into drugs. But that was for a period of just about a year. And then I just took amphetamines. I have never ever taken hard drugs. But I was in a position to see what hard drugs did to people, what drugs did to my friends.”

The interview also specifically talks about A Scanner Darkly:

“I saw things that if I hadn’t seen them with my own eyes I simply wouldn’t have believed them. (…) Everything in A Scanner Darkly I actually saw. I mean I saw even worse things than I put in A Scanner Darkly. I saw people who were reduced to a point where they couldn’t complete a sentence, they really couldn’t state a sentence. And this was permanent, this was for the rest of their lives. Young people. These were people maybe 18 and 19, and I just saw, you know, it was like a vision of Hell. And I vowed to write a novel about it sometime, and I was just…I’m just…it’s just…well, I was in love with a girl who was an addict and I didn’t know she was an addict and it was just pathetic. So I wrote A Scanner Darkly.
But, I did take amphetamines for years in order to be able to – I was able to produce 68 final pages of copy a day. But I write very slowly now and I take my time, because I don’t have any economic pressures. I was supporting, at one time, four children and a wife with very expensive tastes. Like she bought a Jaguar and so forth. I just had to write and that is the only way I could do it. And, you know, I’d like to be able to say I could have done it without the amphetamines, but I’m not sure I could have done it without the amphetamines, turn out that volume of writing. So I can’t really say that for me amphetamines were a total, negative thing.”

Remarkably, A Scanner Darkly is a book on drugs, yet it wasn’t written under influence.

“Ah, well, my writing falls into two degrees, the writing done under the influence of drugs and the writing I’ve done when I’m not under the influence of drugs. But when I’m not under the influence of drugs I write about drugs. I took amphetamines for years in order to get energy to write. I had to write so much in order to make a living because our pay rates were so low. In five years I wrote sixteen novels, which is incredible. (…) But as soon as I began to earn enough money so that I didn’t have to write so many books, I stopped taking amphetamines. So now I don’t take anything like that. And I never wrote anything under the influence of psychedelics. For instance, Palmer Eldritch I wrote without ever having even seen psychedelic drugs.”

That’s it for the background – what about the novel itself?

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INCANDESCENCE – Greg Egan (2008)

Incandescence egan“All I learnt in the void was that our best guess so far is certainly wrong.”

While not totally unfamiliar with Greg Egan – I’ve read the brilliant Schild’s Ladder, and his early Quarantine – I did start Incandescence with the wrong expectations.

The blurb of the British 2009 Gollancz paperback promises something akin to space opera:

A million years from now, the galaxy is divided between the Amalgam, a vast, cooperative meta-civilisation, and the Aloof, the silent occupiers of the galactic core. The Aloof have long rejected all attempts by the Amalgam to enter their territory, but travellers intrepid enough can take a perilous ride as unencrypted data in their communications network, providing a short-cut across the galaxy’s central bulge.

Rakesh has waited all his life for adventure to come calling. When he meets a traveller who claims she was woken by the Aloof mid-journey and shown a meteor full of traces of DNA, he accepts her challenge to hunt down the uncharted world from which the meteor came, deep in the Aloof’s territory. 

Roi and Zak live inside the Splinter, a translucent world of rock that swims in a sea of light they call the Incandescence. They live on the margins of a rigidly organised society, seeking to decipher the subtle clues that might reveal the true nature of the Splinter. In fact, their world is in danger of extinction, and as the evidence accumulates, Roi, Zak, and a growing band of recruits struggle to understand and take control of their fate.

As Rakesh gradually uncovers the history of the lost DNA world, his search leads him to startling revelations about the Splinter – and the true nature and motives of the Aloof.”

I’ve quoted it in full, because it is striking because of two things: Egan’s own rigorous ethics concerning book jackets (see my review of Schild’s Ladder for the full anecdote), and his scathing reply to a review of Incandescence by Adam Roberts in Strange Horizons. Let me try to explain, and provide my own review of sorts by doing so.

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ROADSIDE PICNIC – Arkady and Boris Strugatsky (1972)

Roadside Picnic Sarah OlsonA quick write-up this time, of a rather short book – 193 pages. I’ve read the new 2012 translation of Olena Bormashenko, which includes a 3-page foreword by Le Guin (okay, but not essential at all), and an excellent afterword by Boris Strugatsky about the history of the novel’s publication in Russia. The book was altered under pressure of the censors at the time, and it’s interesting to read a bit on the mechanics of that, just as Boris’ detached tone about the affair is of note – basically, he points out that all those petty bureaucrats are dead and forgotten, so why dwell on the past too long? The text in this edition is how the Strugatsky brothers intended it to be.

My first attempt of reading something by the Strugatskies wasn’t successful – I quickly abandoned Hard To Be a God because I found it too transparent – but felt I should try another of their titles nonetheless. I’ve been drawn to this particular book because of M. John Harrison’s excellent Nova Swing, which takes the basics of Roadside Picnic as a foundation for its own story.

The shared premises is the same: mysterious aliens visited for a while and left behind bits of unknown technology and debris in the zone where they visited. That zone also became a bit ‘strange’ because of it. Some people make it their living of illegally searching for alien artifacts inside the zone, risking their lives in the process.

There are some glowing reviews of Roadside Picnic online (like this one on Speculiction) and overall this seems a well-loved book, that’s also being taken very serious as Literature. The fact that it was the inspiration for Stalker, the 1979 movie by Tarkovsky undoubtedly added to the book’s fame and prestige.

My own thoughts after the jump.

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THE BOOK OF THE NEW SUN – Gene Wolfe (1980-83)

The Shadow of the Torurer (Maitz without title)This is a 5500 word essay on a reread of TBotNS, focusing on the narrative trap Wolfe has set, and my theory that his literary sleight of hand serves a religious/mystical goal, much more than it is the supposed puzzle for the reader to unravel. There’s also a short section on free will, and it ends with my overall appraisal of the book’s enduring appeal.

The first time I read The Book of the New Sun must have been somewhere in 2011, and it has remained a strong favorite in my mind ever since, easily top 5 ever. As The Folio Society recently published a more or less affordable version of their limited edition treatment of the book, I decided that was a good excuses to whip out too much cash on a book I already owned, and reread the entire thing.

Much has been written about Gene Wolfe’s magnum opus, and I have no intention whatsoever to add to certain debates surrounding these volumes – on the contrary: to me these debates miss an important point, as I will try to explain later.

Deep down I was reluctant to start the reread. My other encounters with Wolfe’s prose haven’t always been fully successful, and I feared The Book of the New Sun to be a lesser affair than I remembered. I have to admit that to a certain extent is was – but that is not to say it became a bad book: I still rank it among my favorite reads.

Before I’ll get to the bulk of this review, first some introductionary remarks to those unfamiliar with the book.

The Book of the New Sun was first published as 4 separate volumes: The Shadow of the Torturer (1980), The Claw of the Conciliator (1981), The Sword of the Lictor (1982) and The Citadel of the Autarch (1983). Two volume editions have been published as Shadow & Claw and Sword & Citadel, and single volume editions have been published as The Book of the New Sun, and also as Severian of the Guild.

When I started rereading it, I intended to review only The Shadow of the Torturer, and then turn to some other books before starting the second volume. But it quickly dawned on me such a review wouldn’t do the novel justice. A review of Shadow might have worked if it had been my first read, but since my memories of the other volumes – not perfect, mind you – had such a gravitational pull, I could only finish the entire thing before writing this. That is not unlike Wolfe himself, who intended to write a novella, but when is was done it turned out to be a tetralogy, only finishing the final draft of the first book when he had finished the second drafts of the remaining 3 parts.

Because he was pressured by his publisher, Wolfe published a coda to this story in 1987, The Urth of the New Sun. I will reread that too someday, but I feel I shouldn’t take it into account for this review, as Wolfe didn’t conceive of it while he wrote this. The same goes for the two related series The Book of the Long Sun and The Book of the Short Sun – published between 1993-1996 and 1999-2003. I won’t take their subject matter into account either: they weren’t part of the quadruple canon, and as such can’t really be used to weigh the original artistic merit. I feel that lots of the interpretations of TBotNS based on certain things in the later series could be considered a form of Hineininterpretierung.

Those who dread being sucked into a 12 book ‘Solar Cycle’, such fear is unwarranted. The Book of the New Sun was conceived as a stand-alone, and if you like it a lot, there’s no harm in reading the coda, Urth. But Long Sun and Short Sun are generally considered works of lesser quality – except by hardcore Wolfe fans – and their main stories are only very tangentially related. I’ve read the first 3 of Long Sun (reviews here), but chances are I’ll never start its final book.

The Book of the New Sun is a dying earth novel, set on Urth, a far-future version of Earth, or an Earth before our own, in some different time cycle. It’s a world that has lost most scientific abilities, and resembles a society straight out of a fantasy novel – even though remnants of technology exist, and certain of the upper classes still have access to flying ships. In the backdrop of the story, there are aliens that try to enslave humanity, and yet other aliens that want to help our race to revive the sun, which has dimmed to such an extent stars are even visible by day. The moon’s light is green, as it has been terraformed in the past, but humans forgot when and how, and can’t get there anymore.

It is the first-person narrative of Severian, a young man belonging to the guild of the torturers – “The Order of the Seekers of Truth and Penitence”, who is disgraced and exiled, and ultimately “backs into the throne” seemingly by accident, and turns out to be something of a messiah. Like in other works by Wolfe, Severian is an unreliable narrator, but more on that in a minute.

The Book of the New Sun is considered by many as one of the towering achievements of science fiction or science fantasy, and I’ve read serious people putting it on the same level as Ulysses and À la recherche du temps perdu. It won lots of awards, and tends to be found near the top of many lists of best speculative fiction. Word has it that this weird and strange book can only be fully understood after three readings.

So what to write about this illustrious work?

I will talk first about its religious themes – Wolfe was a devout Catholic – and how the question whether this book can be enjoyed by agnostics or atheists too ties into the trap that Wolfe has set, a trap that has ensnared many of those writing New Sun exegesis on message boards, Facebook groups, mailing lists and Reddit.

As an intermezzo, I’ve written a short passage about Severian’s outlook on free will, and I’ll end with some thoughts on my rereading experience, and my current appraisal of New Sun – will I read it a third time?

This entire text is spoiler free.

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THE GOLD COAST – Kim Stanley Robinson (1988)

I’ve read people saying Kim Stanley Robinson can’t write characters. Well, they for sure haven’t sampled enough of his oeuvre to make such a bold claim.

Just as The Wild Shore – the first part of a loosely connected triptych, each of which can be easily read as a standalone – The Gold Coast is a book about characters & communities. It made me tear up once, and the central story hinges on the dynamics between a father and a son, and between that father and his cooperate boss.

The California trilogy might be KSR’s most autobiographical work – at least the setting is, as he moved to Orange County when he was 2. Stan was 34 when he wrote it, and it is very much a book about saying goodbye to late adolescence – the extended period of drugs, booze and parties, being twentysomething before settling down.

I’m not sure how much of an epicure KSR is or was, but Jim McPherson, the main character, is an idealist – something he shares with his inventor. McPherson teaches languages for a living, and KSR taught freshman composition. McPherson is also a struggling writer, writing poetry and history, trying to come to grips with postmodernism, something I’m sure Robinson had to do as well under the auspices of his PhD mentor Frederic Jameson – a giant of pomo literary criticism.

In an excellent 2012 interview in the LA Review of Books, Robinson confirmed the partly autobiographical nature of The Gold Coast, implies his father was a military engineer too, and even goes as far to call it “the story of that time and place, Orange County in the 1970s, in a way I don’t think any other novel has.”

The Gold Coast was nominated for the Campbell, Locus, and BSFA. Set in 2027 in Southern California, “where greed and the population had run rampant” it could be considered Robinson’s version of a dystopian cyberpunkish novel – with caveats obviously. More on all that after the jump.

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THE DROWNED WORLD – J.G. Ballard (1962)

The Drowned World (Powers)“The brief span of an individual life is misleading. Each one of us is as old as the entire biological kingdom, and our bloodstreams are tributaries of the great sea of its total memory.”

At times, I read up on books while reading them, and this time my explorations of other reviews significantly colored my reading, in particular the review of BlackOxford on Goodreads.

In that review, BlackOxford develops a mostly symbolic reading of the text that accuses Ballard of racism. The arguments are interesting, but the reading might be reductive. On the other hand, Ballard seems to encourage this interpretative method of searching for latent symbolism.

Before I will add my two cents to the debate – and I’ll keep it short – let me do the non-political part of the review. Continue reading

AN INFINITE SUMMER – Christopher Priest (1979)

An Infinite Summer (first edition)An Infinite Summer‘s first cover, pictured here, is kind of fitting to this short story collection. The other covers, at the end of this review, don’t really do it justice. Christopher Priest has a sophistication to his writing that’s more akin to regular literature than scifi of the pulpy kind.

My first encounter with Priest was Christopher Nolan’s 2006 movie adaptation of The Prestige. I also read 1974’s Inverted World, but that was at the onset of my explorations of SF, and while I liked the novel, I expected the wrong things of it, and I ended up writing a short review that was ultimately negative because of an ending that was ludicrous from a realistic point of view. In other words: I applied Hard SF standards to a novel that was at heart more poetic than scientific.

I’ve always felt that I should give Priest another chance, and when I found An Infinite Summer a few weeks ago in a second hand store, I knew it was going to be my next read. 2011’s The Islanders has been on my TBR for a few months too, but I thought this collection would be a better introduction to the world of the Dream Archipelago – because it was published way earlier, and because I liked the idea of short stories as an introduction to what seems like a fragmented concept to begin with.

Not that all of the 5 stories/novellas in this book are considered Dream Archipelago material: Whores, The Negation and The Watched are – and they are also collected in the 1999 The Dream Archipelago collection. Palely Loitering isn’t a DA story, and while the title story An Infinite Summer is considered to be one by some, it doesn’t mention the DA in the story itself, it’s not part of the later collection, and Priest himself doesn’t frame it as such in the introduction to this volume either – while he explicitly does so for the three I mentioned.

Both “Whores” and “The Watched” are from a loosely linked cycle of stories I think of as “the Dream Archipelago” (“The Negation” also fits into the series, although in a slightly different way.) The Dream Archipelago is more an idea than an actual place, but if it has a correlative reality then it would be a kind of fusion of the Channel Islands and Greece, with bits of Harrow-on-the-Hill and St Tropez thrown in for good measure. (…) There is very little in common between each one, except perhaps the words “Dream Archipelago” themselves.

I’ll first give a few general remarks about the collection, and afterwards zoom in and say a few words on each story.

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NOVA SWING – M. John Harrison (2006)

Nova Swing“For the detictive, he thought, nothing is ever only itself.”

There’s a provoking quote by Harrison floating around on the web, although the original post seems deleted:

“The writer – as opposed to the worldbuilder – must therefore rely on an audience which begins with the idea that reading is a game in itself. I don’t see this happening in worldbuilding fiction. When you read such obsessively-rationalised fiction you are not being invited to interpret, but to “see” and “share” a single world. As well as being based on a failure to understand the limitations of language as a communications tool (or indeed the limitations of a traditional idea of what communication can achieve), I think that kind of writing is patronising to the reader; and I’m surprised to find people talking about “actively reading” these texts when they seem to mean the very opposite of it. The issue is: do you receive – is it possible to receive – a fictional text as an operating manual? Or do you understand instead that your relationship with the very idea of text is already fraught with the most gameable difficulties & undependabilities? The latter seems to me to be the ludic point of reading: anything else rather resembles the – purely functional – act of following instructions on how to operate a vacuum cleaner.”

I guess it’s from the same post as this quote:

“Every moment of a science fiction story must represent the triumph of writing over worldbuilding. Worldbuilding is dull. Worldbuilding literalises the urge to invent. Worldbuilding gives an unneccessary permission for acts of writing (indeed, for acts of reading). Worldbuilding numbs the reader’s ability to fulfill their part of the bargain, because it believes that it has to do everything around here if anything is going to get done. Above all, worldbuilding is not technically necessary. It is the great clomping foot of nerdism. It is the attempt to exhaustively survey a place that isn’t there. A good writer would never try to do that, even with a place that is there. It isn’t possible, & if it was the results wouldn’t be readable: they would constitute not a book but the biggest library ever built, a hallowed place of dedication & lifelong study.”

Obviously this is all taste, and not law. It’s also no clear cut dichotomy, as there’s some worldbuilding in Nova Swing too, like in all other Harrison books I’ve read and will read. But as a piece of polemic poetics, Harrison succeeds to point sharply at one end of a spectrum.

It also says something about the difficulties I encountered while reading Nova Swing – a book that taxes the reader in an above average way. I had to pay attention, and while things got easier throughout to a certain extent, the first part of the finale was dense again, filled with sentences and scenes to reread and ponder. Not surprising, as it is set in “a stretch of bad physics, a mean glowing strip of strange”, a part of the so-called Kefahuchi Tract that fell to the surface of the planet Saudade in 2444AD – an age in which humans have spread out in the galaxy using FTL technology. Continue reading

TAU ZERO – Poul Anderson (1970)

Tau ZeroIn my attempt to read a decent sample of the classics and enhance my understanding of the history of science fiction, Tau Zero was a logical choice, as it is heralded as one of the prime examples of hard SF. Moreover, I hadn’t read any Poul Anderson – both a science fiction as a fantasy Grand Master and winner of numerous awards, most notably seven Hugos and three Nebulas.

Tau Zero follows the crew of a colonization vessel launched from Earth, aiming to reach a nearby star, without FTL. But naturally something goes wrong, and the ship can’t perform the planned deceleration during the second half of the journey. On top of that, they are subject to time dilation. All and all, the setup is great, and Anderson has plenty of building blocks for an exciting story.

Similarly, the predicament the protagonists find themselves in potentially offers an examination of some fundamental questions about the purpose and significance of human lives.

Sadly, Tau Zero was a bit of a letdown on either front. I’m having a hard time coming up with a solid angle for the remainder of this review, so I’ll just do a quicky, and use a bulleted list. Easier for you to read as well: win-win!

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THE HAIR-CARPET WEAVERS – Andreas Eschbach (1995, transl. 2005)

The Hair-Carpet Weavers (Eschbach Jessalyn Brooks)This book deserves to become a classic, and it is fitting that Penguin published it as part of its Classics SF series in 2020. The debut of German author Andreas Eschbach, The Hair-Carpet Weavers was translated in English in 2005, and first published as The Carpet Makers.

The Hair-Carpet Weavers is the better title, as it captures something of the strangeness this 314-page novel possesses – still, don’t be alarmed by that, New Weird this is not, not at all. On the contrary, it has a very solid, grounded feel.

While not fully perfect, the book is a gem that combines Le Guinish calm, mythical storytelling as in Earthsea, with a space opera plot that nods at Herbert and has the outrageous imagination of Iain M. Banks. I’d say this would appeal to both science fiction and fantasy readers, and the beginning of the book also reminded me a bit of Piranesi, another gem that was still fresh in my mind.

It also features a formal narrative approach I have rarely encountered, and definitely not as honed to perfection as it is here.

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GOD EMPEROR OF DUNE – Frank Herbert (1981)

This is the 4th post in a series on my reread of the Dune books, and it became yet another lengthy text of about 8,720 words. I’ve also written long analyses of Dune, Dune Messiah and Children of Dune.

My text on Dune itself 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. The article on Children is over 10,000 words long and deals with the tragedy of Alia, change as a key concept in the series, a Nietzschean morality beyond good & evil, and Amor Fati, among other things.

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.

God Emperor of Dune (Brad Holland)Before I’ll zoom in on Leto’s conceptual character, and questions about prescience, the nature of the Golden Path and the question whether the world portrayed in this book is mystic or mechanical, I’ll try to write a proper review of sorts. If you’re also interested in the more philosophical matters, or in the various inconsistencies introduced in this novel, read on afterwards.

How to assess God Emperor of Dune in the series? In my recollection I thought Dune was by far superior to the 2nd and the 3rd book, but when I finished the series, I thought book 5 and 6 were the best. God Emperor is the only book I don’t have specific memories about anymore.

So far, my rereads have more or less confirmed my feelings: Messiah is dumbed down to the point it became bothersome – even though the emotions saved it in the end; the intrigues and Alia’s character make Children an above average read, even though conceptually it is a bit of a mess, and Herbert didn’t achieve the same purity of message as he did with Dune itself.

Similarly, after rereading God Emperor, I simply don’t have very outspoken feelings about it. It was an okay read, and by any standards Leto is a remarkable character – maybe the strangest character I have ever encountered in fiction. That by itself is an achievement.

The novel is often portrayed as heavy on philosophy, and I can understand what people mean by that, but I’d rather say it is sprinkled with tidbits that make you think, instead of calling this a philosophical book. Often these passages are mildly intellectually stimulating, but at the same time, taken at face value, generally take the form of sweeping generalizations about humanity. Because they often lack nuance they more than once made me shrug – Herbert’s attempt at Nietzschean aphorisms do succeed once in a while, but they don’t fully compensate for the main structural weakness of this book. Continue reading


The pandemic freed up time, so I read 40 titles in 2020, 14 more than last year. I won’t make too much promises about what I’ll read in the coming months, but I will continue my reread of the Dune series – God Emperor should be the next review I post. I’ll also continue to explore Greg Egan’s work, and the work of Antwerp author J.M.H. Berckmans.

As for art books, I’m still reading on Picasso & Rembrandt – we’ll see if that gets translated into posts. I’ll try to squeeze in some of the Becher, Turrell and Twombly I promised last year, but I also want to read books on Jean Fouquet and Hockney. I’ll continue to read other non-fiction too, I’m currently tackling Contingency and Convergence – Toward a Cosmic Biology of Body and Mind by Russel Powell, a joy so far. Should be of interest to any hard SF authors imagining alien life.

A bit of blog stats for those of you who might be interested in such a thing. I’ve had a significant increase of traffic, with 22.971 views in 2020, and 13.032 visitors – about 8.000 and 4.300 more than in 2019.

The most successful post of 2020 was about Dune Messiah, garnering 675 views. Children of Dune comes in second with 501 views. The Ministry for the Future – posted only 2 months ago – closes the top 3 with 363 views.

Most read reviews so far are those for Recursion (2.124 views since published), The Dosadi Experiment (1.212 views) and New York 2140 (1.097 views). Also still going strong (+800 views) are posts on The Wandering Earth, Green Earth, The Algebraist and Uprooted. There are 23 posts with over 500 views in total now, 6 of which are about Frank Herbert books.

A big thank you to everyone who has read, liked, commented or linked. All the best to you and yours for 2021.

As for the actual favorite book list: below are the titles I’ve given a 5-star rating on Goodreads in 2020, 6 in total. If I had to pick one, I’d go for Radiance by Carter Scholz.

Honorable mentions for The Day of the Triffids, Solaris, The Sunken Land Begins to Rise Again and How History Gets Things Wrong: The Neuroscience of Our Addiction to Stories, all more than excellent reads, well worth your time.

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EON – Greg Bear (1985)

Greg Bear EonI need something from my reading. Be it good prose, or insight in the human condition, or wild ideas about science, or just a sense of escapist wonder. This book doesn’t deliver. It was my first Greg Bear, and I guess it will be my last.

Main turn off in Eon: characters that behave in a totally unbelievable manner. A global nuclear catastrophe is imminent, but let’s not tell anybody aside from these 11 people with security clearance. Let’s also put all our eggs in one basket, namely a 24-year old math genius. As time is not an issue, let’s not brief her fully ASAP so she can get to work, but let her experience this strange hollow asteroid herself, browse its libraries, appreciate its interior design computer programs.

Don’t get me started on the typical, unimaginative social dichotomies after the bombs go off (science lovers & science haters), or the fact that the Russians are bad, obviously. Bear wrote this in the 80ies. USA!
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JELLYFISH – Lisa-Ann Gershwin (2016) & ICE – Anna Kavan (1967)

2 reviews in this post: first the best jellyfish monograph published to this day – I’ll treat you with a bunch of stunning facts at the end of the review. After that, a much lauded slipstream classic.

JELLYFISH: A NATURAL HISTORY – Lisa-Ann Gershiwn (2016)

Jellyfish A Natural History GershwinGood books on jellyfish are hard to find: there hardly exist any. I’ve had the German ‘Quallen’ by Thomas Heeger (2004) for years, and that used to be the only comprehensive scientific monograph on the subject: someone should translate that in English.

I’m fascinated by the subject, so when I saw this very book in the biography of the underwhelming little book on jellyfish that Peter Williams published in 2020 I bought it instantly.

This book isn’t really about 50 jellyfish as advertised on the back: it rather is a monograph on 5 subjects: jellyfish anatomy, life history, taxonomy and evolution, ecology and finally the impact of humanity on jellyfish. Each subject gets about 20 pages in text (and some graphics & pictures), and after that Gershwin each time presents 10 jellyfish that illustrate some of the stuff from that particular chapter’s subject. Each jellyfish gets a full page photograph, and one page with additional information.

This makes for a bit of a hybrid: this is both a coffee table book with great, clear illustrations & a fairly thorough introduction to jellyfish biology. I doubt experienced marine biologists with an interest in the subject will learn a lot of new things from Gershwin, but for the general public the book is detailed nonetheless.

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