The Bat (Harry Hole #1) (1997/ Engish translation 2015) by Jo Nesbo, translated into English by Don Bartlett: The first of Jo Nesbo's Harry Hole series about a Norwegian police detective wasn't released in English until after several other Hole mysteries were. That's probably because this mystery/thriller occurs in Australia, where Hole has been sent to liase with Sydney police as they investigate the murder of a young Norwegian woman.
The great thing about the early goings-on in The Bat involve the revelation of the pronunciation of Harry's last name. Thank god for Australia, I say! It's supposed to be pronounced 'Hoo-lay' but the Australians keep calling him Harry Holy, both of which are preferable (to Harry and to me) to how his last name looks like it should be pronounced.
There's a pretty good whodunnit-and-why in The Bat, occasionally drowned out by Nesbo's attempts to hit every quadrant (or whatever) of commercial appeal, including a climactic scene that seems to be aimed straight at movie adaptation. And that scene is completely ridiculous. So, too, a plan put in place to catch the killer by Harry and the Australian police that's unforgivably stupid and stupidly implemented. I didn't believe it for a second, and neither should you.
We also get a lot of back-story for Harry and his alcoholic ways, a tour through some interesting Australian locales, a bit too much mystical-native stuff that verges at points on turning into a version of America's much-maligned 'Magical Negro' trope, and a not-entirely-believable serial killer. It's a fast-paced, enjoyable read, but one will pine for the Fjords by the time the climax arrives. Are there fjords in Norway? Well, whatever. Harry Hole is a cold-weather animal. Lightly recommended.
Foundation (1942-1951/Collected 1951) by Isaac Asimov: The first Foundation novel (it's really a paste-up of novellas and novelettes) was written by Isaac Asimov between the ages of 22 and 24, with the exception of the opening story, written specifically for Foundation's first book publication in 1951. It holds up beautifully today as a tale of the far future modeled explicitly by Asimov on the Roman Empire as imagined in Edward Gibbons' late-18th-century historical work, The History of the Decline and Fall of the Roman Empire.
What Asimov helped to give to science fiction in the original Foundation trilogy was space opera without the opera. Instead, Asimov re-imagined all the space empires and clashing worlds that had been a fixture of science fiction from the late 1920's onwards in American pulp magazines. The precocious Asimov instead made his space opera into a Novel of Ideas.
Asimov also gave the world Psychohistory, the backbone of the Foundation series. Perfected by super-historian Hari Seldon, Psychohistory allowed Seldon to plot the future dynamic of the dying Galactic Empire so as to allow members of the two Foundation institutes to shorten the post-Imperial galactic Dark Age from tens of thousands of years to only a thousand.
So the Foundation series generally works with a group hero, embodied in one or a handful of people in each section, as it jumps decades or even hundreds of years forward in each section. Sometimes the recorded hologram of Seldon shows up at various crisis points to offer suggestions to the Foundation members. Sometimes they figure out the crisis point themselves.
It's all handled with a minimum of violence, bloodshed, and Star Wars stuff. Most of the Foundation series involves dialogue and historical theorizing. Asimov and American science fiction were both young, which leads to the occasional exclamation of "Great galloping galaxies!". But the overall approach is cerebral and humanistic.
Along the way, Asimov also gives us entries from his Encyclopedia Galactica, forebear of so many similar volumes in science fiction. And there's religion as an intentional instrument of state control, an idea that several of the writers who published in editor John W. Campbell's Astounding Magazine in the 1940's would tackle, writers that included Asimov, Robert Heinlein, Fritz Leiber, and A.E. Van Vogt.
Star Wars certainly borrows much of Asimov's set dressing (and more than one name) for its own Galactic Empire, framing them in a world mostly devoid of ideas, much less Ideas. This is the real deal, one that's sparked so many other writers to imagine their own galactic empires and their own millennia-long view of human history. Highly recommended.
Northern Frights 3 (1995): edited by Don Hutchison; contains the following stories:
Wild Things Live There by Michael Rowe
Silver Rings by Rick Hautala
A Debt Unpaid by Tanya Huff
Imposter by Peter Sellers
Exodus 22:18 by Nancy Baker
The Suction Method by Rudy Kremberg
Sasquatch by Mel D. Ames
Grist for the Mills of Christmas by James Powell
Tamar's Leather Pouch by David Shtogryn
Snow Angel by Nancy Kilpatrick
The Perseids by Robert Charles Wilson
Widow's Walk by Carolyn Clink
If You Know Where to Look by Chris Wiggins
The Bleeding Tree by Sean Doolittle
The Dead Go Shopping by Stephanie Bedwell-Grime
Family Ties by Edo van Belkom
The Pines by Tia V. Travis
The Summer Worms by David Nickle
Solid third volume in Canada's Northern Frights series of mostly original anthologies has one moment of editorial fright early on -- not only is the Table of Contents regrettably centre-justified, but it lacks page numbers for the stories. What the H?
The stand-outs include "Wild Things Live There" by Michael Rowe, a dandy bit of horror that anticipates some of the horrors of Laird Barron's terrific series of stories about the Children of Old Leech while remaining steadfastly Canadian -- the story even involves a migration from Ontario to British Columbia by, well, some things. Oh, Canada!
Another fine story is "The Perseids" by Robert Charles Wilson. Wilson is known as a highly regarded Canadian writer of fairly 'hard' science fiction. Here, some of that scientific and astronomical 'hardness' is present in what is otherwise a subtle, unnerving piece of cosmic horror. Or at least cosmic weirdness.
"If You Know Where to Look" by Chris Wiggins is also a nice piece of dread set in the Maritimes and involving a Scottish legend that seems to have migrated to Nova Scotia along with the Scots. And yes, he's that Chris Wiggins, Canadian actor. And he really shows an ear for believable dialogue and dialect in this story.
None of the stories are duds, though there are a few bits of whimsy that don't work as horror, weird, or whimsy. Editor Don Hutchison does his normal good work, even without page numbers on that Table of Contents. Recommended.
The Naked Sun by Isaac Asimov (1956): Isaac Asimov all but invented the science-fiction mystery with his first novel about human police detective Lije Baley and robot partner Daneel Olivaw in 1950's The Caves of Steel. Six years later (well, a year later in book time), the two pair up again, this time to solve a murder on the most sparsely populated of the worlds colonized hundreds of years earlier by Earth and its colony worlds. Solaria has a population of 10,000, along with millions upon millions of robots.
The Spacers, as the inhabitants of Earth's long-emancipated colony worlds are known collectively, are far ahead of Earth both technologically and biologically. However, they no longer have anything resembling a police force on any of their worlds: the elimination of want and need caused by their use of robots has made them a virtually crimeless society. Thankfully, run-down, over-populated Earth has lots of crime and thus lots of experience solving crime. As Lije Baley acquitted himself well in the first novel solving the murder of a Spacer on Earth, he's now called upon to run the investigation on Solaria.
Asimov continues to develop the peculiar psychology of Earth residents here -- Baley, like most citizens of Earth, is intensely agoraphobic because Earth's entire civilization exists inside vast, enclosed cities. Earth's surface has been devoted to providing food for the planet's teeming billions. But Baley must work to overcome at least part of this agoraphobia during his investigation. Solaria is so intentionally under-populated that its citizens have developed crippling social phobias when forced to be in the physical presence of other human beings.
Daneel Olivaw, human-form robot from the pre-eminent Spacer world of Aurora, both aids the investigation and acts as a bodyguard against repeated attempts on Baley's life. Olivaw chips in with his emotionless logic and understanding of Spacer psychology, though even he is an outsider on Solaria.
The murder itself has ramifications for Earth and the Spacer worlds on a number of levels. The most wide-reaching consequence attaches to Earth's ability to begin colonizing worlds again with the aid of the Spacers. Baley's own son wants to be one of these new colonists, but the program may also keep both Earth and the Spacer worlds from falling into a social decline. If Baley can solve the case without embarrassing the Spacer powers that be, at least some of Earth's billions may find new homes elsewhere. And a necessary cross-pollination between Spacer and Earther cultures may benefit everyone.
Baley and Olivaw's investigation flows much more smoothly here than in The Caves of Steel, in which the plot required Baley to deduce a killer incorrectly several times before finally getting it right. Here, on an unfamiliar planet, he devotes himself to social fact-finding as well as the murder investigation. The former is necessary for the latter to succeed. This reduces the always entertaining Olivaw's role in the investigation, really the novel's only narrative flaw.
Otherwise, The Naked Sun succeeds as both science fiction and whodunnit. Olivaw functions as the source text for a legion of logical sidekicks that would follow, most prominently Star Trek's Spock and Data, and more precisely in such 'future cop' shows as Almost Human, Future Cop, and even Holmes and Yoyo (!). Recommended.
I, Robot (1950) by Isaac Asimov, a short-story cycle/paste-up novel consisting of the following stories:
- Introduction (I, Robot)(1950)
- Robbie (1940)(aka Strange Playfellow)
- Runaround (1942)
- Reason (1944)
- Catch That Rabbit (1947)
- Liar! (1941)
- Little Lost Robot (1944)
- Escape! (1945)
- Evidence (1946)
- The Evitable Conflict (1950)
Isaac Asimov's Three Laws of Robotics have infiltrated human consciousness, known at least partially even to people who've never read Asimov or even seen the Will Smith movie loosely based on this paste-up novel. Asimov's editor at Astounding in the 1940's, the great John W. Campbell, Jr., helped Asimov formulate the Three Laws. And the first publisher of this paste-up lifted the title from an Eando Binder story that helped inspire Asimov, against Asimov's wishes.
However, Asimov codified for many a rational approach to robots and computers that defied the way artificial creations had generally been depicted all the way back to Frankenstein. Robots were created by humans and could thus be made safe. It was all a matter of programming. In a world in which cars didn't have seat-belts, it was actually a weirdly gigantic cognitive leap.
While we don't have helpful, anthropomorphic robots yet, we do have smartphones and smarthomes and smartcars. And Asimov's robots still work as a stand-in for any technological marvel become mundane through overuse, or potentially sinister through technological evolution. Many of these stories detailing the rise of the robots work as mystery stories, as the intrepid investigators and robopsychologists of U.S. Robots and Mechanical Men, Inc. try to figure out why a new and improved robot is acting screwy.
Screwy as they may act, though, only one of our robots comes to pose a threat to humanity, and that's thanks to the military changing its programming, to the horror of the closest thing this novel has to a human protagonist, the brilliant robopsychologist Susan Calvin. Calvin is one of science fiction's first female protagonists to also be a scientist and not, say, the wife or girlfriend of a scientist. This is quite a leap for Asimov and the genre. Calvin's oft-cited asexuality can get a bit annoying -- can't smart girls have romance? -- but it nonetheless works as a welcome tonic to standard portrayals of women, in or out of the science-fiction genre, in the 1940's.
The world Asimov postulates hasn't come to be, though portions of it may, if we have any sense. And as the stories progress, the larger robot brains become stationary -- become computers. The last 'robot' in the story, dubbed The Machine, is a benevolent world-organizer. I'd guess that Person of Interest creator Jonathan Nolan, working on an adaptation of Asimov's Foundation, was tipping a hat to Asimov with that series' benevolent A.I., known only also as The Machine.
Asimov's robots, in all their endearing solicitude and helpfulness, may endure in some form or another forever. Certainly the work will, and its continuing influence on almost anyone who writes about artificial intelligence. The stories also tackle anti-robot prejudice (people on Earth fear that human-form robots will take their jobs, and so only non-human-form robots have the run of Earth... which wouldn't save anyone's jobs, now that I think about it, though that's partially the point about irrational fears). Asimov even intuits the rising tendency of modern tech companies to 'lease' rather than sell their products (albeit those products tend to be songs and software, not helpful robots) -- U.S. Robots and Mechanical Men lease their robots but never sell them.
Like many older works of science fiction, I, Robot has its moments of comically wrong-guessing and wince-inducing characterization. But it holds up beautifully as both a fast-paced series of adventures and as an exploration of how humanity and technology inter-relate over time and progress. Highly recommended.
Looking for Jake and Other Stories (2005) by China Mieville, containing the following stories:
"Foundation" (2003); "The Ball Room" (2005); "Reports of Certain Events in London" (2004); "Familiar" (2002); "Entry Taken from a Medical Encyclopedia" (2005); "Details" (2002); "Go Between" (2005); "Different Skies" (1999); "An End to Hunger" (2000); "'Tis the Season" (2004); "Jack" (2005); "On the Way to the Front" (2005); and "The Tain" (2002).
The lessons we're supposed to learn from many of these stories are so up-front, so undigested into narrative form, that Mieville sometimes seems to be earnestly auditioning for a socialist Twilight Zone TV series. "The Monsters are Due in Buckingham Palace."
Mieville is a fine writer. At novel length, the message becomes part of the narrative, for the most part, and effectively so, at least in the four novels I've read. So, too, the post-modernist tic of foregrounding the artificiality of the story throughout the telling of that story, which can be an annoyance in the longer works, but a minor one.
Of the stories here, though, Mieville abandons both overt message and foregrounded artificiality only rarely. "Details," his much-reprinted story from an H.P. Lovecraft-themed anthology, is a brilliant piece of contemporary Cthulhu Mythos-making. Its settings and characters are grounded in the normative and the mundane; its implications are cosmic and disturbing. I also quite like "The Ball Room," which subtly weaves questions about racial identity and immigration and corporate ethics into a sharp, smart horror story.
Of the other stories, "Jack" works best if you've had some experience with the world of New Corbuzan, that epic-steampunk city of three of Mieville's novels. "The Tain" and "Looking for Jake" are both (intentionally) attenuated, elliptical tales of existential invasion by mysterious forces from Outside. London falls, and not the one in Ontario, Canada.
The rest are either funny and slight, grim and slight, or bleakly funny and slight. They almost remind me more of some of the more didactic short fiction of frequent Twilight Zone contributor Charles Beaumont than anyone else -- Beaumont of "The Howling Man," punching you in the face with allegory, inexplicably made more subtle for Serling's TV version of the story. Uneven but recommended.
The Caves of Steel by Isaac Asimov (1952): Sometimes one forgets how much social critique there was in the works of quintessentially American, quintessentially Golden-Age-of-Science-Fiction writers such as Isaac Asimov. Asimov never attempted anything resembling complex literary style and his characterizations could often be rudimentary. It really didn't matter unless one or both of those things are deal-breakers for a reader: the ideas were the thing, sometimes developed, sometimes simply spun off on the way to another idea.
The Caves of Steel is a remarkably seminal version of what we'd now call a genre mash-up -- the mystery novel and the science-fiction novel. On a crowded and somewhat dystopian Earth of about 1100 years into the future, someone murders a roboticist visiting Earth from one of the long-self-emancipated colony worlds.
This murder is bad for a number of reasons, not least of which being that the colony worlds are far, far, far more technologically and militarily advanced than Earth. Many -- both Terran and sympathetic Spacer -- fear retaliatory invasion, even though 'Spacers' as they're called by Terrans really hate spending time on Earth or among Earth humans, whom they seem to regard as being diseased and unclean.
So the New York City police commissioner puts Elijah 'Lije' Bailey, C-5 level detective in the New York City Police Department (though New York City now occupies pretty much all of New York State and New Jersey as well) on the case. But he'll have to work with a Spacer detective. That detective is R. Daneel Olivaw. The 'R.' stands for 'Robot.'
Relatively primitive robots are being forced into the Earth work-force by the Spacers through pressure on the Earth's government, ostensibly to make the lives of Terrans better. Earth people tend to hate robots because they take people's jobs. But the Spacers have also refined robots over the centuries, relying on them as important parts of their relatively unpopulated worlds, making them in a wide variety of shapes and sizes -- including Olivaw's type, which can pass for human unless subjected to quite a bit of specialized scrutiny.
The commissioner trusts Bailey's tact and his detective skills. Bailey may dislike both Spacers and robots, but he's got an open mind -- for a Terran. So off go Bailey and Olivaw, to solve a crime with no apparent physical evidence. The mystery is pretty solid. Bailey makes some mistakes along the way, and we're treated to more than one pretty good explanation of what turns out to be faulty reasoning.
Was Asimov 'right' in his predictions? Well, probably not -- the assumptions made for why robots cannot kill human beings seem pretty ludicrous in the light of the last 60 years of computer evolution. Asimov's Three Laws of Robotics are an integral part of his long-lived robotic universe (by the time The Caves of Steel came out in 1953, Asimov had been writing about his Three Laws robots for more than a decade, and he'd keep writing about them until his death in 1992). They don't seem plausible now, at least in the sense that robots in Asimov's universe simply can't be programmed without the laws for reasons explained in the novel.
Asimov's hive-like, overpopulated Earth does seem a lot more plausible, especially after another 1100 years of resource usage. Asimov's future Earth lives on the constant edge of complete collapse due to resource exhaustion and an increasingly over-strained infrastructure. Earth has also undergone a sort of acculturated agoraphobia: human beings are afraid to go outside of the domed-in cities. So afraid that to Bailey, it seems reasonable to exclude the idea that a person could have walked across open land as part of the murder plot.
It's a lot of fun to see Asimov explore the sorts of social conventions that might arise after hundreds of years living in a quasi-communal mega-city. The gender conventions of public washroom behavior become important in a world where 95% of all people only have access to public washrooms (or 'Personals' as they're called in the novel). So, too, does importance attach to some of the games played by teenagers on the massive moving sidewalks that move people around New York (and every other mega-city). Bailey's memories sketch in the peculiar, over-populated homogeneity of the future Earth throughout the novel: one such memory involves a trip to the New York City zoo to see sparrows, cats, and dogs.
This Earth has been emptied out of almost everything that doesn't serve a purpose. The population's diet consists to a great extent of products made from a multitude of varieties of genetically engineered yeast. Petroleum has been exhausted. Uranium and other fissionable materials may soon be exhausted, as will coal. The powers that be discuss various forms of solar power, but no one has the will to build them. No one has the will to walk outside, much less the will to colonize new worlds or create and deploy new technologies.
There's a certain amount of serious thinking going on for a mystery novel -- about how civilizations fall, and about how their fall can be prevented. Both Earth and Spacer society need radical revision to survive. It's the robots that may be the key -- rational, cool-minded, and incapable of causing harm to humans. And Bailey and Olivaw would have more crime-solving to do. Highly recommended.
Science Fiction Omnibus: edited by Groff Conklin, containing the following stories: "A Subway Named Mobius" by A.J. Deutsch; "The Colour Out of Space" by H.P. Lovecraft; "The Star Dummy" by Anthony Boucher; "Homo Sol" by Isaac Asimov; "Kaleidoscope" by Ray Bradbury; "Plague" by Murray Leinster; "Test Piece" by Eric Frank Russell; "Spectator Sport" by John D. MacDonald; "The Weapon" by Fredric Brown; "History Lesson" by Arthur C. Clarke; and "Instinct" by Lester Del Rey (Collected 1956): Enjoyable, idiosyncratic anthology of mostly 1940's and 1950's science fiction from the once ubiquitous and always good Groff Conklin.
The two most-anthologized stories here are the Lovecraft and Bradbury offerings. John D. MacDonald, best known for his Travis Magee mystery novels, was also a prolific science-fiction writer in the 1950's, and his short-short story anticipates virtual reality in a startling and prescient way. Somewhat bizarrely, the Boucher story anticipates Alf! The rest of the stories are solid, with the Arthur Clarke offering probably having the funniest ending, as Venusians make some extremely wrong conclusions about the now-extinct Earth society based on one surviving film strip. Recommended.
Selected Stories of Philip K. Dick: edited and with an introduction by Jonathan Lethem; containing the following stories: "Beyond Lies the Wub"; "Roog"; "Paycheck"; "Second Variety"; "Impostor"; "The King of the Elves"; "Adjustment Team"; "Foster, You're Dead!"; "Upon the Dull Earth"; "Autofac"; "The Minority Report"; "The Days of Perky Pat"; "Precious Artifact"; "A Game of Unchance"; "We Can Remember It for You Wholesale"; "Faith of Our Fathers"; "The Electric Ant"; "A Little Something for Us Tempunauts"; "The Exit Door Leads In"; "Rautavaara's Case"; "I Hope I Shall Arrive Soon" (aka "Frozen Journey") (Collected 2002):
Any Dick short-story collection will be pretty good, as he wrote very few stinkers during his prolific career. Lethem leans a bit too much towards the science-fictional here, including one truly minor story ("The Exit Door Leads In", an unusually defeatist story, even for Dick) and excluding two of Dick's best horror stories, the stunning "The Father Thing", which I'd nominate as at least one of the 20 scariest stories ever written in English, and the creepily droll "The Cookie Lady", a Dickian exercise in dark Bradburyian whimsy.
I'd also have included Dick's hilarious 1950's story in which Scientology has become the world's leading religion. If you keep score of these things, pretty much every Dick short story ever adapted into a movie is represented here ("Paycheck"; "Second Variety" (as Screamers and its sequels) ; "Impostor"; "Adjustment Team" (as The Adjustment Bureau); "The Minority Report" and "We Can Remember It for You Wholesale" (twice as Total Recall)). Highly recommended, though the collection may whet your appetite for a more comprehensive survey of Dick's writing. Thankfully, he's pretty much entirely in print.
