Card, Orson Scott: Capitol

Published in 1978*, Orson Scott Card's debut novel hits the ground running. Like the galaxy the book describes, this is the humble, but brilliant foundation, of one of the science fiction's leading authors. Science fiction has always had a relatively bad reputation with the general public. Few books make it into the literary halls of fame, and even fewer will, as things stand, make it to the list of eternal classics. However, there remains a collective bouyant with the beauty found in science fiction. And thankfully, this keeps the genre alive.

Capitol starts with a foreword from the author directing the reader in how the book should be approached (basically from page one until the end!). After reading the book, however, I realise how important this is. The novel is a collection of interrelated stories operating in the same 'empire/galaxy'. To group stories just by the mere fact that they operate within the same galaxy may seem presumptuous, but the essential fact is that society in this book is described with an appendage that makes all the stories distinct from anything else - immortality.

Many books have been written about immortality and its side-effects, but OSC explores a number of different perspectives. Somec, the sleep-inducing drug that allows people to be 'alive' only for a few months in every few years, allows people to stretch their lifespans to the fullest. Not immortality, as such, but as near as is required to get the point across. Somec is not available to everyone and this is a salient point in every story.

The book is laid out almost like a manual to immortality, each short story illustrates a pertinent side-effect of immortality. This is not to say that the progression of the book is linear, indeed quite the opposite, we see a gradiated rise and fall of the empire akin to the Rise and Fall of the Roman Empire in 300-odd pages (anyone who has read the book may find a note of irony in that sentence!). The stories are bold and quickly lay the groundwork for the involving episodes that unfurl. There are no complex plot points, but plenty of places to stop, look away from the page and think. We get glimpses into the mythology, ecology, astronomy, history and politics of the empire revolving around Capitol, without getting bogged down. In the liberal vein of much of science ficiton, pheonomena such a telepathy and strange beasts are introduced without the hinderance associated with most other genres, and all play a central role in illustrating their individual story. Too frequently are such concepts bandied around in Science Fiction and Fantasy in the oft fruitless attempt at making stories more colourful. OSC, however, uses them in the most commendable fashion; as metaphor for abstract social and psychological concepts.

The stories are excellent. They could exist by themselves, but holistically they make up a body of work that gives the feeling that a whole galaxy of muses could have been appended. The first and last stories stand out as the important ones, foundations to the others. There's an Orwellian gloom to the work, in particular the story entitled A Thousand Deaths, which gives the story even more credibility and shows the depth of knowledge and understanding that OSC has. I read the book faster than most books, not because I wanted to turn the page to continue the story, rather I wanted to peel back another layer from Capitol. Steeped with philosophy, Capitol allows us to step back and examine life and humanity from a different viewpoint, but a viewpoint that nonetheless looks at us. Nobody will ever compare this book to the great philosophers of the 21st Century, but it is just as valuable.


*from hatrack.com, OSC's official site, only my copy states 1979. But who's arguing!

Scott Card, Orson: The Grinning Man

This is why I read Sci-Fi. If someone asked me to define what appeals to me about Sci-Fi, I would read them this short story. It is great. I read it in the Robert Silverberg editied collection Legends (Silverberg, King, Brooks and other feature in this outstanding book). The mini-narrative is a side-line (like a lot of these types of stories) from Orson Scott Card's Alvin Maker series, and is a wonderfully warm anecdote. The characters are joyful and funny without spoiling into silliness, the scenes are believable and the story is sugar-coated with imagination. This is story telling in the vein of the brothers Grimm and Hans Christian Andersen. Perhaps it won't e remembered, but it should - it's a warm cup of tea on a cold winter's morning. It would only take an hour to read, so find this book and read it - rarely have I spent such a fulfilling hour in the world of commas and full-stops.

King, Stephen: Dreamcatcher

We were holidaying in beautiful New England. It was fall, the leaves had just started to rust, and the wind of the Atlantic started to chill. Clear, blue skies covered Acadia National Park and the Green Mountains were lush. Everywhere was beautiful... except, in the world of Stephen King. In his New England aliens had invaded and disease was preparing to spread through the Maine counrtyside like a forest fire. We passed a number of the places that I was reading about, which was interesting and gave a snug a feel to the story, like when the winter comes and the open fire is sparked up for the first time since Spring. But what of the story?

Well, Mr King is varied in his writing. I have always thought that. He has a noticeable style, one that's consistent, witty, interesting and colourful. Each sentence flowers, intertwining history, current events, philosophy and emotion. You find out interesting little facts and explore the local towns and countryside. It's always good entertainment, it's always fun.

Dreamcatcher is a hybrid of SciFi and horror; aliens harboring fatal diseases, crashed spaceships and long, slimey worm-like creatures known, peotically, as Shitweasels. The story has all the props, but with an added Stevey-Bonus - Four childhood friends, reunited and reliving the events that brought them close as Primary school kids. Like IT years before, it has the seeds for a wonderful creation.

But I didn't much care for it. Like IT, the plot starts of thoroughly introducing us to the characters, describing their varied upbringings and their more varied adult lives. Up North, strange things are happening, we are drawn into the plot. The winter scenery is described with a clarity as crisp as the snow, and the isolation from the outside world sounds more like Vladivostok than Northern Maine. There's a wonderful scene, possibly one of King's greatest, where the woodland creatures are all fleeing, the wolf and the rabbit, the deer and the bear, and none of them paying attention to what would normally be their prey or predator. The horror is rife, as always, King takes the Western World's fashionable fears, chops and dices them and sprinkles them between the lines - in this case, at the beginning of the 21st century, Cancer. But, sadly, as with a few of King's books, the plot looses momentum and withers away to a few fast-paced threads without much reader-relation, and ultimately the Humvee speeding down route one doesn't synchronise with my slowing pulse. I feel a little disappointed; the time I've invested in getting to know these characters all seems a little wasted. Then I take a look at the book I'm reading, it's horror, from the man who defines the genre. So why am I looking for emotion? Perhaps it's me, I think; I like to relate to the characters. But no, I feel let down because I know what Stephen King can deliver, he gave us the Shawshank Redemption, the Body (stand by me) and numerous others. He brought in all the props, and a great plot, but like the Shitweasels, they never really got anywhere.

Platt, Charles: The Silicon Man

It was in the bargain bin at a local bookshop, it looked a bit SciFi and a bit Cyberpunk, the blurb was interesting and it had a shiny cover. So I bought it. I didn't really expect I would read it, but I took it on holiday with me to Egypt, just in case.

The book was appealing from the off. Themed in Cyber culture, with Techie characters and a Californian backdrop. The story revolves around the upload of a personality into a computer, the personality is then dropped into various environments and scenarios. It was an interesting concept, one which has been jostled with since artificial intelligence was first concieved. The narrative, though not of a high standard, was interesting, and built the tension throughout. Essentially a tradgedy, the plot takes a couple of shallow bends and though I never felt I liked the characters, I did feel for their peril. There was nothing strikingly original or intriguing about the book, it was just nice to read. I find very few books I read are page-turners, though I think this may be due to my slow pace of reading, but this was one of those rare occasions. It conjoured up images from 'The Matrix'; contact to the real world via telephone, big empty environments and a few others, and the book was written a few years before the film.

Overall, it was enjoyable. The plot never really went into much depth, and it did seem a little weak. But it was quite a chilling rendition of a future that becomes more feasible by the day.