Author: Phil Geusz
Publisher: FurPlanet Publications
Disclosure: A free copy of this book was furnished by the publisher for review, but providing a copy did not guarantee a review. This information is provided per the regulations of the Federal Trade Commission.
This unusual science fiction novel, published in September 2013, is set in an unspecified future around the end of the 21st century. The protagonist, Dr. Rusty Harrison, is a genetically engineered rabbit-man, looking roughly like a realistic brown-furred Bugs Bunny. Scientists had just “genengineered” rabbit-people, designed to be totally pacifistic, when an unknown super-plague exterminates 99+% of humanity. Only the rabbit-people are immune.
The few survivors of humanity still outnumber the rabbit-people, but not by much. They try to keep civilization running, but there are not enough to keep the United States of America together. It has broken apart into many tiny independent state-based countries like the West Coast Confederation, the Sooner Republic, the Colorado Republic, Iowssouri, the Arkansas Free State, the Lone Star Republic and so on. Most of them are friendly and trying to maintain good relations with each other, but at least one is out for a brutal war of conquest against the others, executing the governments of the conquered states.
The University that was experimenting with genengineering before the Breakdown, has all of the intelligent Rabbits left in the world. It is one of the remaining practitioners of research; a politically independent enclave located in the Sooner Republic, which supports it. However, the armies of one of the aggressors are approaching the Sooners and neighboring Texas, and both the Sooner and Lone Star governments and the University administration are wondering what to do.
The problem is magnified by the fact that the Rabbits are designed to be pacifists. In fact, they are almost militantly pacifistic, if that is not a contradiction in terms. They believe in non-violence to the point of refusing to defend themselves even when confronted by human killers. Rusty is an anomaly; a Rabbit in whom the artificial non-violent instinct has not taken. He will defend himself, and as a result, most of the other Rabbits look down upon him.
Rusty is the only Rabbit that the University can send out on information-gathering missions and expect to come home alive. Both the University administration and the Lone Star government want him to find them allies, but they are undercut by the prevailing mood among the Rabbits being against self-defense. They are hardwired to believe that any form of aggression is evil. They refuse to help the Texan defense. Rusty is torn between wanting to be accepted by his fellow Rabbits, and exasperated by their blindness. If they won’t learn to defend themselves, they won’t exist once the first aggressor gets as far as the University grounds.
The novel is much more complex than this. There is what Rusty discovers on his explorations. There is the expanding picture of post-Collapse America. There is the mystery of who is trying to kill Rusty, and why. Why are most humans pathetically eager to meet a Rabbit, but someone important enough to hire killers wants Rusty dead? There is the mystery of what caused the Collapse, and whether it is pertinent to Rusty’s missions.
Despite’s Rusty’s attempts to be as peaceful and diplomatic as possible among human allies and friendly neutrals, there are shootings, poisonings, spyings, boobytrappings, interfering bureaucrats, and a Rabbit assistant whose help he needs but who despises him as a psychotic warmonger. One thing leads to another, and they all lead toward an apparent suicide mission deep into the heart of enemy territory. There may be one way out, but Rusty hesitates to take it …
Adults should enjoy “Evolutionary Action”, although it seems designed as a boys’ Young Adult novel by its mostly offstage violence and its lack of female characters. It comes as a 187-page trade paperback for $9.95, or a $2.99 Kindle e-book.
Koko Takes a Holiday
Author: Kieran Shea
Publisher: Titan Books
Disclosure: A free copy of this book was furnished by the publisher for review, but providing a copy did not guarantee a review. This information is provided per the regulations of the Federal Trade Commission.
“Five hundred years from now, ex-corporate mercenary Koko Martstellar is swaggering through an early retirement as a brothel owner on The Sixty Islands, a manufactured tropical resort archipelago known for its sex and simulated violence. Surrounded by slang-drooling boywhores and synthetic komodo dragons, the most challenging part of Koko’s day is deciding on her next drink. That is, until her old comrade Portia Delacompte sends a squad of security personnel to murder her.” (publisher’s blurb)
This $14.95 333-page trade paperback novel is a combination of New Wave experimental sci-fi, Gibsonian cyberpunk, and video games heavy on extreme violence. There is a kaleidoscope of different typefaces. There are the futuristic argot and the wonky thought/speech patterns:
“So the dead Kongercat raiders who were in the bar? The ones who called themselves Ying Fong and Chuòhao? You bet them nasty dakini re-civs, but them foolish. Them no expect my Koko-sama. Be on The Sixty for carnival and all wasted on big liquor and high-happy with shift and shake, thinking them be better than her, but those two be dead wrong. Koko-sama upright alphamama.” (p. 13)
There is the excessive violence and the overall frantic pace:
“FU-CHEW! FU-CHEW! FU-CHEW! Heads liquefying.
Dandelions of bone and bloody discharge patterning out.
Four shots are four kills, and the whole room is swallowed in flame.
Koko’s eyes sweep the burning area for signs of life before she charges up the stairs. Not looking at Archimedes’ crumpled body on the landing, she yanks open all the doors to the rooms, shouting at the boywhores to move, move, move.” (p. 32)
There is the constant use of the present tense, and Koko’s search for bigger and better weapons:
“Koko takes the gun from Juke’s outstretched hand and drops into a few firing stances. She swings the weapon around for weight and switches grips. She has to hand it to the doughy blackguard, the big pervert knows her tastes. Inserting the power clip into the gun, she inspects the digitized readout on the weapon’s housing. The number indicates here thousand rounds.” (p. 89)
“‘I don’t know yet,’ Koko says. ‘Let’s just say that your mentioning it reminds me to ask if you have any blades for sale. Based on my recent tangle, I’m probably headed for more one-on-one intensity. Serrated lift point would be great. Something with a clean edge on the opposite side, too. Galvanized ceramic is okay, but I definitely want something that’s not going to fail on me when I decide to break bones.’” (p. 91)
Despite all the mayhem, there is enough character development to make Koko surprisingly sympathetic. Shea even works some dark humor into the action, as when the leader of a team of assassins stalking Koko is interrupted by a personal call:
“Mu is about to update the others on her location when a personal audio message crashes in via her ocular.
Oh, who the – Now? Now? Damn it to hell…
The audio patch is from Mu’s grandmother.
Mu attempts to sound upbeat and cheerful as she taps in respond.
Mu’s grandmother is ninety-six years of age and has no idea what Mu does now.” (p. 166)
Years earlier, when Koko Martstellar was a free-lance mercenary, her best friend and “big sister” was Portia Delacompte, about ten years older. Koko saved Portia’s life on one operation. Eventually Portia retired to the commercial sector, and a few years later, as an executive at the Custom Pleasure Bureau, she recruited Koko to run The Sixty Islands, CPB’s star adult pleasure resort-brothel. The establishment’s nature occasionally requires Koko to break a few heads, which is no big deal, until an armed security squad shows up to arrest her on a capital charge – claiming that senior v.p. Portia Delacompte has personally ordered her arrest. Koko shoots her way out and escapes to the Second Free Zone, a second-rate orbital pleasure satellite outside of Earth’s jurisdiction – only to learn that Portia has apparently illegally hired mercenaries to follow and assassinate her.
Koko wonders why Portia has suddenly turned against her?
Back on Earth, so does Portia:
“But why? Why does she want Martstellar dead? Didn’t she once serve alongside the woman? Weren’t they once friends? Martstellar’s file seems to confirm this, yet every time Delacompte even attempts to evoke a shred of insight as to why she wants Koko dead, the electrical impulses of her brain fail and betray her.” (pgs. 41-42)
There is more than one type of brain failure in “Koko Takes a Holiday”. Koko is on the run from the CPB’s hired killers, but she can’t get far from them on a space station until she meets Flynn, a seriously depressed SFZ security guard who is about to commit suicide. Will Koko give him a new reason to live? Or will he sacrifice himself for her?
The publisher gives away that Koko herself will survive, in the book’s advertisement for the sequel next year. “Koko Takes a Trip” is shallow but fast-paced futuristic (2516 A.D.) action-fiction, aimed less at the readers of literary sci-fi than the fans of video games and spectacular VFX-filled super-hero movies.
War over Lemuria: Richard Shaver, Ray Palmer and the Strangest Chapter of 1940s Science Fiction, by Richard Toronto. Illustrated.
Jefferson, NC, McFarland & Co., April 2013, trade paperback $45.00 (vi + 256 pages), Kindle $16.19.
Now It Can Be Told!?
When I was a teenager in the 1950s, I read a lot of science fiction – novels and short-story collections by Isaac Asimov, Ray Bradbury, Arthur C. Clarke, Robert A. Heinlein, and many others. When I was in college in 1960, I discovered the Los Angeles Science Fantasy Society and s-f fandom. Many of the LASFS members had been s-f fans since the 1930s, and they told me about the history of s-f literature; personal information about the writers, the s-f magazines, and so on. Most of this was related casually, yet there was one subject that still stirred high emotions: editor Raymond A. Palmer and the major s-f magazine Amazing Stories from 1945 through 1949. Palmer (or RAP and Rap as he was known) claimed that his most lurid s-f yarns were not fiction but were based on fact! There really were dwarfs in underground caverns beaming evil rays at surface-dwelling humans that caused disease and wars. Most s-f fans felt that this was just a cynical ploy to increase his magazine’s circulation, which it did; but at the cost of giving all s-f fans a reputation among the general public as credulous simpletons who believed in flying saucers and that Buck Rogers and Flash Gordon were real people. Most s-f fans wrote thundering denunciations of RAP in their fanzines. The LASFS had sent a letter signed by all the club’s members to the publishers of Amazing Stories threatening to boycott the magazine if RAP was not replaced as editor. He finally was (actually, he resigned in 1949 when the publisher moved Amazing Stories’ editorial offices from Chicago to NYC), and went on to start his own minor magazines during the 1950s that were insignificant and largely ignored.
RAP and the s-f controversy of the late 1940s were never important beyond s-f circles, and are generally forgotten today – which makes it strange that two books about them have been published almost simultaneously: War over Lemuria: Richard Shaver, Ray Palmer and the Strangest Chapter of 1940s Science Fiction, by Richard Toronto in April, and The Man From Mars: Ray Palmer’s Amazing Pulp Journey, by Fred Nadis in June.
Both cover the subject in rich detail, and know it thoroughly. Both have interviewed Palmer’s closest associates still alive, and have gotten descriptions of RAP ranging from a charlatan and deliberate liar, to a misguided but true believer in what he was promoting. Both quote from and analyze RAP’s statements in his own autobiography, Martian Diary (in The Secret World, by Ray Palmer and Richard Shaver; Amherst, WI, Amherst Press, 1975). Toronto’s approach is slightly more scholarly, and his citations include his correspondence with the principals from the 1970s, showing his lifelong interest in the subject. Nadis’ book is more popularized; it is described in its blurb as “The rollicking true story of the legendary writer and editor who ruled over America’s fantasy and supernatural pulp journals in the mid-twentieth century, and shaped today’s UFO and sci-fi cultures: Ray Palmer.” Nadis apparently did not become interested in the subject until after RAP’s death, but he also interviewed RAP’s colleagues and his son, and studied RAP’s writings in s-f fan correspondence and fanzines of the 1930s in the collections of the Universities of California at Santa Barbara and Riverside, and numerous other universities and colleges that have extensive specialized holdings. Both books have pages of notes, bibliographies, and indexes.
Raymond A. Palmer (1910-1977) was easy to document because he became an active, enthusiastic s-f fan when he was 16 years old in 1926, and began corresponding with other young fans. RAP published some of the most widely-read s-f fanzines in the early 1930s, and his editorials, promotions of s-f, and thoughts are on record. During the 1930s he was a leading s-f fan, and was dubbed “the Son of Science Fiction”. When he became the editor of Amazing Stories for its new Ziff-Davis publishers in 1938, he was hailed as Fan Turns Professional – S-F Fan Makes Good. However, by the mid-1940s Palmer had told the fans that one of his main duties as editor was to increase the circulation of Amazing Stories, and that the “educated s-f fan community” was only a small percentage of the pulp adventure magazine’s readership.
In 1943, Amazing Stories got a long letter from a Richard S. Shaver, who claimed that he had found the alphabet of the lost civilization of Atlantis. Palmer’s assistant threw it in the wastebasket; Palmer fished it out and printed it. In correspondence, Palmer said that Shaver’s revelations were too dry for the magazine, and urged Shaver to rewrite them as adventure fiction. Shaver’s first story, heavily revised by Palmer, was “I Remember Lemuria” in the March 1945 issue. To quote Nadis, “After ‘I Remember Lemuria,’ more than twenty Shaver stories followed in the next four years. Shaver’s pay increased from one cent a word to one and a half cents, and then to two cents a word. But it is clear that many of his submissions underwent serious revisions. In June 1944, a half year after the Mantong alphabet letter had been published, and while the Ziff-Davis crew was still working over Shaver’s raw submissions, he wrote to Rap, ‘Naturally I am overjoyed that you can use my stories and am sorry that they must be rewritten – but believe me I know why – for I have been through much and it is work for me to write.’” (p. 89)
It was later learned that “Shaver had spent up to eight years in a catatonic state in the state hospital in Ypsilanti, Michigan” (Nadis, p. 82) As the Shaver stories progressed, RAP became more editorially emphatic that, while they might be fictionalized and dramatized, they were based upon prehistoric truth. The s-f fan community became more strident in demanding Palmer’s head. Fans who visited Amazing’s Chicago editorial offices while Shaver happened to be there reported that he seemed to be a sincere but harmless lunatic, while their kindest description of Palmer was that he was a flimflammer and hoaxer in the tradition of P.T. Barnum and 19th century medicine show barkers.
In June 1947, the first claim of a flying saucer sighting was made by Kenneth Arnold, a civilian pilot with no association with science fiction. Further claims of U.S. government cover-ups soon built up a public conspiracy theory that was much more widespread than what was called “the Shaver Mystery” in Amazing Stories ever was. In early July 1947 Palmer wrote to Arnold suggesting that they collaborate on an article or articles. In Spring 1948 Palmer started his own magazine, Fate, devoted to examining “unexplained mysteries”. When Ziff-Davis consolidated all its magazines in NYC in 1949, it was no hardship for Palmer to leave Amazing Stories and concentrate on his other interests, which focused increasingly on the occult such as the theories of Immanuel Velikovsky, Theosophy, and Hollow-Earthism. Since these bore no connection to science fiction, the wrath of the s-f community died away. In 1960 Julius Schwartz, a leading s-f fan of the 1930s and now an editor at DC Comics, named the secret identity of a new superhero, The Atom, Ray Palmer. RAP was not amused, partially because The Atom’s superpower was to shrink to miniature size, and the real Ray Palmer, because of a childhood almost-fatal accident, was a hunchbacked 4’8” dwarf.
Both books continue the biographies of RAP and Richard Shaver to their deaths. The two became close friends, and when the Palmers bought a large farm in rural Wisconsin, Palmer persuaded Shaver and his wife to come from Pennsylvania and become their neighbors. Shaver took to listening to rocks and painting surrealistic canvases of his visions. The art world didn’t care about his beliefs but liked his artistry. Shaver became despondent over being appreciated for what he felt was the wrong reasons. He allowed Palmer to publish his paintings as the covers on Palmer’s new magazines, edited from Palmer’s farmhouse. Shaver died in November 1975, and Palmer in August 1977.
I always felt that the story of Ray Palmer and the Shaver Mystery deserved a larger and more permanent documentation than the gossip of now-elderly s-f fans; and here it is. Buy where there is any interest in the history of s-f literature, of popular fiction during the 1940s, or of the beginnings of flying saucer cultdom.
The Man From Mars: Ray Palmer’s Amazing Pulp Journey, by Fred Nadis. Illustrated.
NYC, Jeremy P. Tarcher/Penguin, June 2013, hardcover $28.95 (xiii + 289 [+ 1] pages), Kindle $11.99.
The rollicking true story of the legendary writer and editor who ruled over America’s fantasy and supernatural pulp journals in the mid-twentieth century, and shaped today’s UFO and sci-fi cultures: Ray Palmer.
Meet Ray Palmer. A hustler, a trickster, and a visionary. The hunchbacked Palmer, who stood at just over four feet tall, was nevertheless an indomitable force, the ruler of his own bizarre sector of the universe. Armed with only his typewriter, Palmer changed the world as we know it – jumpstarting the flying saucer craze; frightening hundreds of thousands of Americans with “true” stories of evil denizens of inner earth; and reporting on cover-ups involving extraterrestrials, the paranormal, and secret government agencies.??As editor for the ground-breaking sci-fi magazine Amazing Stories and creator of publications such as Other Worlds, Imagination, Fate, Mystic, Search, Flying Saucers, Hidden World, and Space Age, Palmer pushed the limits and broke new ground in science fiction publishing in the 1940s and 1950s—and was reviled for it by purists who called him “the man who killed science fiction.”??In the first-ever biography devoted to the figure who molded modern geek culture, pulp scholar Fred Nadis paints a vivid portrait of Palmer—a brilliant, charming, and wildly willful iconoclast who helped ignite the UFO craze, convinced Americans of hidden worlds and government cover ups, and championed the occult and paranormal.??Palmer overcame serious physical handicaps to become the most significant editor during the “golden age” of pulp magazines; he rebelled in his own inimitable way against the bland suburban vision of the American Dream; he concocted new literary genres; and he molded our current conspiracy culture decades before The X-Files claimed that the truth was out there.
War over Lemuria: Richard Shaver, Ray Palmer and the Strangest Chapter of 1940s Science Fiction Paperback
McFarland, April 25, 2013
Shaverology: A Shaver Mystery Home Companion Paperback
Shavetron Press, August 29, 2013
Disclosure: A free copy of this book was furnished by the publisher for review, but providing a copy did not guarantee a review. This information is provided per the regulations of the Federal Trade Commission.
The Best of Alter Ego, volume 2
Editors: Roy Thomas and Bill Schelly
Publisher: TwoMorrows Publishing
“This sequel to Alter Ego: The Best of the Legendary Comics Fanzine presents more fantastic features from the fabled mag begun in 1961 by Jerry Bails & Roy Thomas-covering undiscovered gems from all 11 original issues published between 1961 and 1978!” (back-cover blurb)
Comic book fandom was invented in the early 1960s. There had been sporadic articles on one or another science-fiction newspaper comic strip like “Buck Rogers” or on individual comic books like “Captain Marvel” in s-f fanzines during the 1940s and 1950s, but they were limited to what the fan-author – usually an enthusiastic teenager — could deduce from the issues in his collection. Starting with Dick and Pat Lupoff’s fanzine “Xero” in 1960-1963, some of the most knowledgeable comic-book enthusiasts at the time were asked to write, not just nostalgia pieces on their favorite comic books, but well-researched articles on their publication history. This was to have been a dignified epitaph to a colorful but short-lived portion of popular culture.
Nobody realized it at the time, but this was just the period when what is now called “the Silver Age of comic books” was starting. DC Comics reinvented costumed superheroes with the revived “The Flash” in 1959, and Marvel started “the Marvel Age of Superheroes” in 1961. “Xero” became the new model for comic-book scholarship. Suddenly every young fan who could get access to a mimeograph or a spirit duplicator was starting a fanzine that was not only devoted to his favorite costumed hero, but that included reports of visits to the DC or Marvel publication office, interviews with comic-book writers and artists, and the fan’s (and his friends’) amateur comic-book stories. Most of these fanzines lasted less than a dozen issues and were very amateurish, but, boy, were they enthusiastic!
“Alter Ego”, started in 1961, was one of the first and best of these, and after fifty years it is still going, as a professional full-color magazine today. Where other fanzines were discontinued when their teenaged editors grew tired of them, “Alter Ego” was passed along to new editors, ending up with issue #7 in 1964 in the hands of Roy Thomas. Thomas, a fresh college graduate and beginning high-school English teacher, parlayed his editorship of “Alter Ego” into a professional job at Marvel Comics a year later as editor Stan Lee’s assistant. Full-time work in the comic-book industry left Thomas with no time to continue his hobby, so “Alter Ego” became more and more erratic and finally went on hiatus in 1978. He revived it over twenty years later in 1999, and it has been published bi-monthly ever since.
“The Best of Alter Ego, volume 2” is a $19.95 160-page trade paperback collection from the original 1961-1978 issues of the magazine, combined with Thomas’ detailed history of its start up to its long hiatus. Frankly, the book is most worthwhile as a piece of fannish nostalgia, and as an inspiration to today’s teens of what can be done as an amateur in a given field. Thomas and co-editor Schelly have produced a scrapbook of photographs of the leading comic-book fans of the 1960s; some complete, amateurishly written & drawn superhero adventures; and documentation of the activities of comic-book fandom in the 1960s, like “The Academy of Comic-Book Arts and Sciences presents: The Alley Awards for 1962.” (The Alley Awards, named for the comic-strip character Alley Oop, were a short-lived award voted on by comics fans and given to the professional creators.) Most of the “fact” articles herein, such as “‘Merciful Minerva’: The Story of Wonder Woman” by Jerry Bails (1961) have long ago been supplanted by better-written articles by other writers; in many cases during the last twenty years by whole books by professional authors with the publisher’s complete archives to draw upon.
But, as they say, This Is Where It All Started. It is arguable that if it were not for the pioneering fanzines of the 1960s, there would not be a scholarly historiography of the comic-book industry today. The fans of the 1960s onward interviewed many of the professional editors, writers, and artists while they were still alive; and when those publishers were clearing out old files, they gave them to fans whom they knew wanted them instead of throwing them in the trash. Among the book’s contents are an unsold “Tor” newspaper strip proposal by professional Joe Kubert, and a 1977 interview with French artist Jean “Moebius” Giraud. Some of the new material in this book includes friendly letters from those editors in reply to their fans, showing that the wise editors of the 1960s encouraged their fan base instead of brushing them off; and articles for the 2010s reader to explain what a mimeograph or a spirit duplicator was.
Full disclosure: I am one of the fans included in this book, with an article on the Mexican s-f comic books of the mid-1960s that was my first “professional” writing credit.
Buy where there is interest in comic books, or the beginnings of comic-book/costumed superhero fandom, or in the popular culture of the 1960s.
Author: Cat Patrick
Publisher: Little, Brown Books for Young Readers (May 7, 2013)
Trust Cat Patrick to write something wild and crazy, told in the most normal of voices. I first came into contact with her work when I read Revived and was completely blown away. When I saw The Originals, I knew I just had to read it. I wasn’t disappointed. The Originals tells the story of three sisters who are not triplets…they are clones. Because their scientist/geneticist mother is on the lam and the FBI is searching for girls of their age masquerading as triplets, they are forced to live a sort of half-life; rather a third of a life. Each girl takes a part of the day and has to be careful in how they wear their hair, clothes, etc. One heads to school in the morning, then rushes home at lunch to switch. The third sister takes over the evening. Occasionally, they switch to accommodate illness or other issues. Needless to say, it’s kind of nuts, but they take it in stride.Read More»
Men Into Space
Author: John C. Fredriksen
Publisher: BearManor Media
The 1950s were, practically speaking, the first decade of television. Popular “everybody knows” knowledge is that the first serious science fiction TV program was Rod Serling’s The Twilight Zone, from October 1959 to June 1964. Earlier TV science fiction programs like Captain Video, Space Patrol, and Tom Corbett: Space Cadet were for children. Fredriksen, the author of thirty other reference books such as The United States Air Force: A Chronology, points out that earlier TV s-f for adults did exist, such as Science Fiction Theatre (1955-1957). One important but now-forgotten program was Men Into Space, 38 episodes, September 1959 to September 1960.
A major factor that sets Men Into Space apart from all other TV science fiction, then or later, was that it was “hard science” science fiction. Presenting the fictional adventures of astronaut Col. Edward McCauley (played by William Lundigan) in the near future (the 1970s were implied), the program closely forecast the real U.S. space program of the 1960s. Men Into Space built upon the popularization of Lunar and Martian space exploration in the 1950s through books and magazine articles by such experts as Wernher von Braun and Willy Ley, and the “Tomorrowland” episodes of Walt Disney’s TV series. The program consulted closely with the U.S. Air Force as an advisor, and “The Air Force retained supervisory control of scripting and insisted that all episodes depict the American space effort in a strictly realistic vein. No bug-eyed monsters or mad scientists were permissible, so story lines invariably turned on conflict arising from faulty equipment or personality clashes among crewmen.” (pgs. 7-8) Chesley Bonestell, the noted astronautical and astronomical artist who illustrated many popular 1950s articles on space exploration for magazines like Collier’s, designed the space and Lunar sets and the spacecraft for Men Into Space. Guest stars in the 38 episodes, appearing in one episode each, included Robert Vaughn, James Coburn, Werner Klemperer, Whit Bissell, James Drury, Gavin MacLeod, and many others who became better-known actors during the 1960s and 1970s.
Fredriksen first presents a general history and overview of the program and its production company, ZIV (Ziv Productions), followed by profiles of the “Cast and Crew”: a lengthy biography of Lundigan, shorter biographies of the actors who played his wife and son, the program’s producer, set designer (Bonestell), and composer, and the real Convair Atlas rocket that was the model for the program’s fictional spaceships. Each profile includes one or more publicity photographs and its own bibliography.
All the foregoing are on pages 1 to 36 of this 314-page book. “Episodes” are the main feature, from page 39 to 291. Each of the 38 episodes is given a usually-seven page profile that includes a still, the episode title, air date, list of actors and their characters, script author, director, technical advisor (a U.S.A.F. officer), and a long (usually five pages) plot synopsis. There are two appendices; a July 2012 interview by Fredriksen of William Lundigan’s daughter, and a photogallery of the program’s few children’s merchandising items. There are six pages of Endnotes and a Name Index.
This is one of those “all you want to know” books about its subject. Men Into Space was a minor program on the list of all the TV science fiction programs there have ever been. But it will always be known for its presentation of “real” or “hard” science astronautics, as distinct from the other programs that featured robots, Earth-conquering aliens, fanciful views of the far future and other planets, cinematic adaptations of prominent literary s-f stories, and the like; including today’s TV s-f which mixes s-f elements with werewolves, vampires, and zombies. Buy wherever there is any interest in Men Into Space itself, in TV science fiction, in TV productions of the late 1950s-early 1960s, or in American history of the 1950s Space Race period.
When Diplomacy Fails …
Author: Michael Z. Williamson
Publisher: Baen Books
This is the seventh novel in Williamson’s Freehold interstellar action-adventure science-fiction series, which started with Freehold in 2003; or the third novel in his Ripple Creek Security subseries, which began with Better to Beg Forgiveness ….
The series is set about two hundred years in the future, in a human interstellar civilization in which most planets of the galaxy are divided among a tyrannical socialistic United Nations union (the villains), the lone-planet freedom-loving Freehold of Grainne (the heroes), and various worlds loosely aligned in a Colonial Alliance. After the first couple of novels, Williamson began concentrating on the exploits of the Freehold-based Ripple Creek Security Service, a commercial company of mercenary bodyguards who hire their services to the president of an independent planet in the throes of civil war (Better to Beg Forgiveness …, 2007), and the Richest Person in the Universe (Do Unto Others …, 2010). In other words, these novels are a s-f extrapolation of the private military companies such as Blackwater Security that contracted their services to the U.S. government in Iraq during the 2000s.
In this third novel, Ripple Creek is hired to guard and protect their traditional enemy! Well, politics has no personal enemies, and Ripple Creek has the reputation of being the best in the business. Ripple Creek is asked to assign its ace team of Alex Marlow, Jason Vaughn, Eleanora Sykora, Bart Weil, Horace Mbuto, and Aramis Anderson to protect the U.N.’s Bureau of State Minister Joy Herman Highland, a bureaucrat with very many enemies, both professional and personal.
There is little padding in Williamson’s prose. His team know each other well and are personal friends, but their conversation is heavy in shop talk; and the third-person narration is heavy in tech talk:
“[Alex] said, ‘We’re protecting a high-ranking UN bureau official out of system.’
Bart asked, ‘Are there specific threats?’
‘Some. We’ll be able to cover those during transport. We’re traveling together.’
Elke asked, ‘What restrictions do we have on weapons and gear, and rules of engagement?”
He understood she was asking if she could have explosives. ‘Unknown yet, but I do know the usual security contingent are armed.’
‘Then why us?’ Bart asked.
‘The threat level is perceived as higher than typical.’
‘So the free market is better at protecting the government than it is at protecting itself.’
‘We’re going to Mtali for the Environmental Summit and some other meetings.’
Bart raised his eyebrows. Yes, if they were up to date on newsloads, that pretty well gave away who the principal was.
‘Perhaps I will like this person,’ Elke said. ‘I respect ruthlessness.’” (p. 11)
“Their quarters were quite comfortable for the field. They had billets on par with officers or other high-end contractors: hard buildings, private rooms where enlisted personnel would have three to five, basic bunks and lockable closets. The problem, of course, was the weapons, which in theory were supposed to be secured whenever they were not on escort, which would mean a lot of back and forth to the armory. In practice, they usually left someone in the billet to watch things, armed. He also knew Aramis concealed a small pistol when out. He was sure Jason did, too, though he’d never seen it. He made do with a knife.” (p. 63)
For interstellar political reasons, the Environmental Summit is on a planet with a lot of factional religious groups fighting each other; so Alex and his teammates do not know whether they are protecting Highland from “incidental” Mtali religious violence, a specific assassination attempt against her by the partisans, an attempt by one of her political enemies back on Earth, or if they are there to guard her as just a publicity stunt. What they quickly find out is that, unlike their previous assignments where they were working with the full cooperation of their principals, Highland seems determined to make their job as hard as possible. Anti-terrorist security depends largely on secrecy and keeping as low a profile as possible. Highland wants maximum publicity for her political career and appearances, and even publicizes the names and portraits of her security team without their knowledge. The Ripple Creek team soon come to despise their current principal, who is clearly prepared to sacrifice some or all of them for her publicity’s sake.
Alex and the others are determined to not let this affect their professionalism. Besides their own self-honor, Ripple Creek’s reputation is at stake. But as the attacks against them increase, three patterns emerge. There are genuine non-deadly factional protests against Highland as a symbol of the U.N., assassination attempts against Highland presumably by her political rivals, and attacks designed to discredit the Ripple Creek Security team by causing civilian casualties that can be blamed on them. Alex and his teammates must become detectives to outwit and expose their adversaries, while protecting Highland despite her attempts to exploit them for political gain. The lengthy climax provides surprises and lots of military violence.
According to the “About the Author”, Williamson is an ex- military veteran of the U.S. Army and Air Force with considerable Middle Eastern experience, and a current weapons tester and reviewer for several firearms manufacturers. His professional expertise shows in this well-written military s-f series.
Author: John Scalzi
Publisher: Tom Dougherty Associates/Tor Books
What used to be called “sacrificial lambs” or “cannon fodder” became institutionalized in s-f as the “redshirt” in the original Star Trek TV series of 1966-69. The Star Trek uniforms consisted of several colors. As the TV Tropes website puts it of the red-shirted uniforms, “The color of shirt worn by the nameless security personnel on the original Star Trek series. Their only job was to get eaten, shot, stabbed, disrupted, temporally-shifted, frozen, desalinated, or crushed into a cube. Their death would give William Shatner and DeForest Kelley a corpse to emote over, and Leonard Nimoy a corpse to, well, “not emote over.” The tradition that a character wearing a red shirt would die became so widespread that subsequent TV series with no connection to Star Trek such as Buffy, the Vampire Slayer and Lost dressed characters fated to die in red shirts, and reviewers began to refer to characters who exist only to meet dire fates as “redshirts”.
What if a story’s low-ranking characters became aware that anyone dressed in a red shirt is fated to die? That is the premise, handled both humorously and seriously, of Redshirts by John Scalzi.
In the late 2460s, young Ensign Junior Rank Andrew Dahl requests assignment to the Universal Union flagship Intreped, specifically to the Xenobiology Department which specializes in exploring new planets. Dahl is proud of his prestige posting, which will give him a chance to ‘get out into the field’. “‘Yes, sir,’ Dahl said. ‘It’s that front line science that appeals to me. The exploration.’” (p. 30)
But when he discusses his assignment with some other friendly new crewmen, Andy learns that they are all replacing recent fatalities.
“‘People here have away missions on the brain.’ [Dahl said]
‘It’s because someone always dies on them,’ Hanson said.
Duvall arched an eyebrow at this. ‘What makes you say that, Jimmy?’
‘Well, we’re all replacing former crew members,’ Hanson said, and then pointed at Duvall. ‘What happened to the one you replaced. Transferred out?’’
‘No,’ Duvall said. ‘He was the death by vaporization one.’
‘And mine got sucked out of the shuttle,’ Hanson said. ‘And Andy’s got eaten by a shark. Maybe. You have to admit there’s something going on there. I bet if we tracked down Finn and Hester, they’d tell us the same thing.’” (p. 36)
When Andy investigates further, he learns that the Intrepid’s explorational ‘away missions’ usually consist of Captain Lucius Abernathy and Chief Science Officer Q’eeng as observers, and Astrogation Lieutenant Kerensky as the mission leader of several non-coms; and that in 100% of past missions, they have encountered a deadly threat that the three officers have survived (Kerensky barely), but the redshirted minions have always fallen victim to. Naturally, none of the Intrepid’s more experienced non-coms, including Andy’s Xenobiology teammates, want to be assigned to an away mission.
Andy decides that this is more than coincidence. Since when does a large ship’s captain personally accompany an exploration mission, especially after experience shows that these missions are highly dangerous?
“‘Dahl, tell me,’ Collins said. ‘When Q’eeng and Abernathy were here, how were they talking to you?’
‘What do you mean?’ Dahl asked.
‘Did they come in and quickly tell you what you needed?’
Collins said. ‘Or did they go on and on about a bunch of crap you didn’t need to know?’
‘They went on a bit, yes,’ Dahl said.
‘Was the captain particularly dramatic?’ Cassaway asked.
‘What is ‘particularly dramatic’ in this context?’ Dahl asked.
‘Like this,’ Mbeke said, and then grabbed both of Dahl’s shoulders and shook them. ‘Damn it, man! There is no try! Only do!’
Dahl set down the vial so it was not accidentally shaken out of his grip. ‘He said pretty much exactly those words,’ he said to Mbeke.” (pgs. 41-42)
Why is Kerensky always chosen to lead the away mission, and why is he the only one of the low-ranking explorers to barely survive? Why is an Astrogator chosen for planetary exploration, anyway?
‘Why did you want Lieutenant Kerensky’s medical records?’ Hanson asked.
‘Kerensky was the victim of a plague a week ago,’ Dahl said. ‘He recovered quickly enough to lead an away mission, where he lost consciousness because of a machine attack. He recovered quickly enough from that to hit on Maia sometime today.’
‘To be fair, he still looked like hell,’ Duvall said.
‘To be fair, he should probably be dead,’ Dahl said. ‘The Merovian Plague melts people’s flesh right off their bones. Kerensky was about fifteen minutes away from death before he got cured, and he’s heading an away mission a week later? It takes that long to get over a bad cold, much less a flesh-eating bacteria.’
‘So he’s got an awesome immune system,’ Duvall said.
Dahl fixed her with a look and flipped Finn’s phone to her. ‘In the past three years, Kerensky’s been shot three times, caught a deadly disease four times, has been crushed under a rock pile, injured in a shuttle crash, suffered burns when his bridge control panel blew up in his face, experienced partial atmospheric decompression, suffered from induced mental instability, been bitten by two venomous animals and had the control of his body taken over by an alien parasite. That’s before the recent plague and this mission.’” (pgs. 67-68)
Andy and his four buddies learn that this is just the beginning of the weird stuff. Kerensky is going psycho wondering why he is always the leader of the away missions that go to hell, and that he is the only survivor. Barely. Andy discovers discrepancies between the Intrepid’s blueprints and the shipboard reality. They aren’t the only ones to notice things. Andy suddenly finds himself and some of his official Xenobiology teammates assigned to a special away mission by Q’eeng. When Andy is the only survivor, he is ostracized by the rest of the Xenobiology Department and transferred to the bridge crew:
“‘Someone once told me to stay off the bridge,’ Dahl said, and then nodded over at Trin. ‘Two people did, actually. But one of them was more forceful about it.’
‘Nonsense,’ Collins said. ‘The bridge is the perfect place for someone like you. You’ll be in contact with senior officers on a daily basis. They’ll get to know you very well. And there will be lots of opportunities for adventure. You’ll be going on away missions weekly. Sometimes even more often then that.’ She smiled thinly.” (p. 91)
Dahl and his friends find Jenkins, an older crewman who has a theory about what is going on that is so far-fetched, so incredible that none of them can take it seriously – except that it is the only theory that fits all the facts. After one of the friends is killed, the others are forced to discuss it seriously.
“‘I hate it that we now have discussions like this,’ Hester said.
‘I don’t think any of us like it,’ Dahl said.
‘I don’t know. I think it’s interesting,’ Duvall said.
‘It would be interesting if we were sitting in a dorm room, getting stoned,’ Hester said. ‘Talking about it seriously after our friend has died sort of takes the fun out of it.’” (p. 138)
Redshirts is a masterpiece of deadpan humor mixed with suspense. For all the ridiculous implausibility of their situation, people are dying painfully and messily. Can Dahl and his friends figure out the secret of survival?
And then, after the story ends, there are three codas in which Scalzi drops the humor and gets intimately serious.
Redshirts is not only an in-depth dramatization of an increasingly frequent TV trope, it is also a very funny parody of the TV series that started it all. Commander Q’eeng is emotionless and, by his strange name, probably partially inhuman. Captain Abernathy dramatically overemotes whenever he is at center stage. Chief Engineer West stays in the engine room. Lieutenant Kerensky lives only to fall into near-death situations. Everyone runs about breathlessly delivering messages in person that could just as easily be delivered by phone or intercom.
For all its seeming originality and uniqueness, Redshirts’ basic plot is very similar to a previous s-f classic novel – but if I told you which one, then I’d have to kill you! Two novels with similar plots in a hundred years? That’s not too many.
Read Redshirts! I’ll bet that you don’t guess the solution.
Is ‘sphagettify’ a real word?
Publisher: Tor (a division of Macmillian)
The backstory behind the classic, popular ENDER’S GAME series by Orson Scott Card is brought to life in this series of novels describing the two Formic Wars that make up the history leading up to the world in which Ender Wiggin will later come to exist. Yet it is a passionate rich story in its own right, with a young hero named Victor who works as a free miner whose family in the wake of tragedy must entrust this young man to get to Luna with evidence of the coming alien invasion. More than just simply an adaptation of the Marvel Comics release of the same storyline, these novels include characters and subplots originally cut from the comic book making for an even richer experience. Whether you’re a longtime fan of the ENDER’S GAME universe, or completely new to it, EARTH UNAWARE is a great place to jump in… or jump in again.
Disclosure: A free copy of this book was furnished by the publisher for review via the publisher, but providing a copy did not guarantee a review. This information is provided per the regulations of the Federal Trade Commission.
Judgement at Proteus
Author: Timothy Zahn
Publisher: Tom Dougherty Associates/Tor Books
“The climactic novel of the star-spanning Quadrail space opera!” (blurb) In the first four Quadrail novels (Night Train to Rigel, 2005; The Third Lynx, 2007; Odd Girl Out, 2008, and The Domino Pattern, 2010), galaxy-traveler-by-alien-superscientific-railroad hero Frank Compton (conveniently a top human secret agent) and his mysterious woman companion, Bayta, have unmasked a plot by the extraterrestrial Modhri group mind to take over the bodies of all the “peoples” of the galaxy, including the humans of Earth and its space colonies. There is much hugger-mugger in the style of the 1930s Orient Express spy thrillers, skillfully updated into the far future. (Does a galactic railroad train sound ridiculous to you? Zahn pulls off enough pseudo-technological legerdemain to make it seem plausible.)
But in the climax of The Domino Pattern, Compton learns that he and everyone else during their almost-two-years secret war have been deceived! The real villains are the believed-long-extinct Shonkla-raa, who have been secretly manipulating the strongest races (species?) of the galaxy to kill each other off – and they have been successful enough that the hidden Shonkla-raa armies are about to pour forth and complete their conquest.
In Judgment at Proteus, the fifth and final Quadrail novel, Compton and Bayta are closing in on the Modhri at the headquarters of the horselike Filiaelians at the Proteus super-space-station. (Other non-Humans of the Twelve Empires galactic government are the Shorshians, the Nemut, the Homshil, the Halkans, the Jurskala, the Bellidos, and the Tra’ho. The Humans are the newest and most junior of the Twelve Empires.) Compton has not decided yet what to do about the revelation about the Shonkla-raa.
The second paragraph of the opening page is: “The [Filiaelian’s] expression, and the face, shook briefly as the hand gripping my throat slammed my head and back hard against the display window of my first-class Quadrail compartment.” (p. 9) Judgment at Proteus begins with a bang and never slows down. The reader who is beginning at this point will be plunged into a trainload of a few Humans and many exotic aliens. “‘What an odd question,’ I said, hiding my mild surprise. It had been over four weeks since Muzzfor died his violent death aboard the super-express Quadrail traveling from the other end of the galaxy, and nearly two weeks since Emikai [a bipedal horselike alien] and I had begun these occasional sparring sessions. Not once in all that time had the Filly asked me for details on exactly how Muzzfor had died.” (pgs. 11-12)
In addition to all the aliens, there is the colorful but vague tech of the Quadrail itself. “Our train pulled into the Ilat Dumar Covrey station exactly on time, which was the way things always worked with the Quadrail system. The Spiders, creatures encased in metal globes carried around on seven spindly legs, kept the trains running perfectly as they facilitated the transfer of passengers, cargo, and information across the galaxy with a calm and understated efficiency.
“And as Bayta and I headed across the platform, making our way past Fillies, Shorshians, and assorted other non-Humans, I thought about truth.
“Did they really want to know about the Modhri, the group mind that had started out based in exotic Modhran coral and was now also embedded in thousands, perhaps even millions, of unsuspecting beings? Did they want to know that any of their friends might have a Modhran polyp colony inside him or her, linked telepathically to all the other nearby colonies and coral outposts to form a group-mind segment? Did they want to know that their same friend’s words or actions might actually be inspired by subtle suggestions whispered to him or her by that mind segment?” (p. 13)
At Proteus, the Shonkla-raa strike first by trying to eliminate Compton by framing him for murder. Multiple murders. Compton and Bayta are surrounded by rival horselike Filiaelian police, and civilian friends who have come to know them during their Quadrail travels and do not believe that Compton could be a murderer, including a volunteer defense attorney. The secret-agent action is augmented by courtroom drama. More than one, since Compton is no sooner temporarily freed on one charge then he is framed for another murder – and after being found innocent of one murder, being assigned as a detective to investigate it. This leads to one-on-one martial-arts duels against deadly Shonkla-raa assassins. Compton believes that the police are innocent pawns, while some of the friendly aliens are disguised Shonkla-raa agents; but which?
Eventually, the Shonkla-raa seem so unstoppable that the Modhri reveal themselves/itself and, on the old theory that the enemy of my enemy is my friend, propose a Human-Modhri teamup against them. Compton is forced to agree, playing for time to figure out how to outwit and defeat both of the would-be galactic conquerors.
“I keyed the driving thrusters, and the desk took off like a carved wooden bat out of hell. It shot across the room and with a thunderous crash slammed into the door, bending and then shattering the panel as it was itself bent and shattered. Thumbing off the Beretta’s safety, I charged.”
For those who like shoot ‘em up, blow ‘em up, smash ‘em up, blast ‘em to atoms space opera, Judgment at Proteus by Hugo-winning Timothy Zahn, who has written plenty of authorized Star Wars novels, can’t be beaten.