Ghost in the Shell. Shirow Masamune. Kodansha Ltd (Japan), and Dark Horse Manga (U.S.) 2004.
The manga 'Ghost in the Shell', comes securely wrapped in cellophane, with a parental advisory warning label on the front c over. Yes, it includes a little of everything you would expect when seeing a parental advisory.
It is an excellent book. Basically it is a serious, adult science fiction (cyber-punk or post-cyberpunk) illustrated novel. Or put another way, it is an adult comic book. The setting is a future in which the technology and the human have begun to overlap. Some humans chose to have their bodies partially or entirely replaced by robot bodies, making them cyborgs. These bodies are indistinguishable from human bodies (except for the weight), and in some cases they have enhanced strength, hidden attached weapons, and other devices. Also there are robots which likewise look, and largely behave, like humans. The difference can often only be determined by a scan to detect a 'ghost', basically the spirit, residing inside the body.
The main character is Major Motoko Kusanagi, of 'section 6', a special forces unit of the Japanese police. Most of the story is an excellent police/military/spy thriller-adventure. But inlaid with the action is philosophic-scientific speculation on several questions, primarily: 'What is human?'. Masamune references engineering, biology, chemistry, Buddhism, the Kabbalah, western philosophy, etc.
The main characters are interesting but not always sympathetic, because in their crime-fighting journeys, they are sometimes jaded and unsympathetic toward the victims. Does this simply mean they are sometimes assholes, or is Masamune suggesting their partial or total mechanization is making them less human?
Wednesday, December 9, 2009
Sunday, November 1, 2009
Stableford - Journey to the Center
I recently looked again at Journey to the Center, by Brian Stableford. This was one of the first sf books I ever purchased. It is the story of humans who live on an artificial planet, built by some unknown race millennium earlier. The planet has endless levels and passages honeycombing its interior. The center has never been reached, and in the circumstances of the plot, one explorer who makes his living searching for artifacts within the planet, is caught between several factions who desire to journey deep into its interior.
It is a book that holds up well. I did not realize until recently that Stableford had eventually written two sequels, now out of print. Seeking them out is on my agenda.
Stableford is or should be considered an sf master. He has published more than 50 novels since the seventies, and is also an editor, non-fiction writer, and translator. In these past five years, last I read, he has no contract with a publishing house yet continues to write novels on a publish-on-demand basis. I wish some publishing house would pick him up and give his latest books wider distribution, both because he is an excellent author and out of respect for a master author of sf and fantasy.
It is a book that holds up well. I did not realize until recently that Stableford had eventually written two sequels, now out of print. Seeking them out is on my agenda.
Stableford is or should be considered an sf master. He has published more than 50 novels since the seventies, and is also an editor, non-fiction writer, and translator. In these past five years, last I read, he has no contract with a publishing house yet continues to write novels on a publish-on-demand basis. I wish some publishing house would pick him up and give his latest books wider distribution, both because he is an excellent author and out of respect for a master author of sf and fantasy.
Wednesday, October 21, 2009
Cussler - Pacific Vortex
Pacific Vortex. Clive Cussler. Bantam Books. 1983.
The author introduction states that this is the first Dirk Pitt story. He says it was never before published, that he was reluctant to submit it because it did not have the intricate plots of later Pitt adventures. True, as I read, I saw it did not have as many sub-plots as other Pitt novels I have read. At 270 pages this edition, it is a moderately long book, even without a lot of intricate plotting. And in fact the book seems much shorter. It flows, it speeds along. Most of the sequences are enjoyable and well-paced, the characters that appear, even in cameo, are largely interesting and get interesting things to say and do.
I enjoyed this novel more than the other Pitt books I have read so far. The lack of many lengthy subplots with their extensive plotting actually helps the stories momentum and keeps Pitt himself in the thick of the action; In other Pitt novels he, Pitt, disappears for long stretches and at times seems like a minor character. In this one he is definitely the hero, and his actions drive the story forward.
The only major problem is an early scene in which Pitt enters the Admiralty office wearing bathing trunks. The anger and threats tossed around go way over the top. After that small stumble it's all good.
The author introduction states that this is the first Dirk Pitt story. He says it was never before published, that he was reluctant to submit it because it did not have the intricate plots of later Pitt adventures. True, as I read, I saw it did not have as many sub-plots as other Pitt novels I have read. At 270 pages this edition, it is a moderately long book, even without a lot of intricate plotting. And in fact the book seems much shorter. It flows, it speeds along. Most of the sequences are enjoyable and well-paced, the characters that appear, even in cameo, are largely interesting and get interesting things to say and do.
I enjoyed this novel more than the other Pitt books I have read so far. The lack of many lengthy subplots with their extensive plotting actually helps the stories momentum and keeps Pitt himself in the thick of the action; In other Pitt novels he, Pitt, disappears for long stretches and at times seems like a minor character. In this one he is definitely the hero, and his actions drive the story forward.
The only major problem is an early scene in which Pitt enters the Admiralty office wearing bathing trunks. The anger and threats tossed around go way over the top. After that small stumble it's all good.
Sunday, October 4, 2009
Lewis - Jack Returns Home
Jack Returns Home, Ted Lewis, Pan Books, 1971.
English mob enforcer Jack Carter returns to his home town to investigate his brother's murder. It is a classic setup, and used brilliantly here. The book covers roughly three intense days from a Friday evening to Sunday afternoon. Jack digs through his past, meeting old friends and old enemies. He gets closer to the truth of his brother's death. His bosses send people to order Jack to stop his activities. When he refuses, these friends are told to bring him back any way necessary. Jack meets his niece, his brother's co-workers and mistress. He peels layer after layer off the sordid side of his old town. As the book races to its climax the action becomes increasingly brutal and unforgiving. Sub plots pile up; the tension is ratcheted ever higher. Jack has the knowledge and the capacity for violence to keep pushing forward with almost no allies against increasing number of enemies.
As Jack moves through the town he recalls his past, his childhood, old friends long gone, the old neighborhoods as they were in his youth. It reads like a memoir. How much of the author's own past is used as material in these sections? We may never know, but the detail and precision of the writing reads like the author had intimate knowledge of these people and places.
The book is as much about Jack's personality, and his relationship with his brother, as it is about the revenge plot. All the characters are effectively drawn. The dialogue is crisp, the scene setting vivid. The plot is almost flawless in its construction. 'Jack Returns Home' is one of the greatest crime novels ever written.
English mob enforcer Jack Carter returns to his home town to investigate his brother's murder. It is a classic setup, and used brilliantly here. The book covers roughly three intense days from a Friday evening to Sunday afternoon. Jack digs through his past, meeting old friends and old enemies. He gets closer to the truth of his brother's death. His bosses send people to order Jack to stop his activities. When he refuses, these friends are told to bring him back any way necessary. Jack meets his niece, his brother's co-workers and mistress. He peels layer after layer off the sordid side of his old town. As the book races to its climax the action becomes increasingly brutal and unforgiving. Sub plots pile up; the tension is ratcheted ever higher. Jack has the knowledge and the capacity for violence to keep pushing forward with almost no allies against increasing number of enemies.
As Jack moves through the town he recalls his past, his childhood, old friends long gone, the old neighborhoods as they were in his youth. It reads like a memoir. How much of the author's own past is used as material in these sections? We may never know, but the detail and precision of the writing reads like the author had intimate knowledge of these people and places.
The book is as much about Jack's personality, and his relationship with his brother, as it is about the revenge plot. All the characters are effectively drawn. The dialogue is crisp, the scene setting vivid. The plot is almost flawless in its construction. 'Jack Returns Home' is one of the greatest crime novels ever written.
Friday, August 28, 2009
Brackett - The Hounds of Skaith
Leigh Brackett. The Hounds of Skaith. 1974. Ballantine Books.
Part two of the Eric John Stark trilogy.
Eric drove North to the enemy citadel to rescue his freind in the first volume. In this volume they move South by a different route toward the Spaceport. This time Stark has new allies, namely several very powerful war dogs he commands with telepathy. This Southern journey is at first much like the journey in part one. It has an episodic structure in which Stark's group encounters various hostle life forms. The land itself and everything on it is hostile. Once again the reader may wonder how anyone could survive on such a hostile world. At least this time fewer humanoids are willing to eat travellers.
The corrupt preisthood of the first book is still active. They control a major city and a powerful army, and more of those fiercly powerful wardogs. As Stark journeys South he realizes that to reach the Spaceport he must bypass the enemy city. And to do that he must become increasingly involved in planet politics. So as he moves he gathers an army. An army of those wanting an end to the preisthood's power. The novel's big set piece is the battle for that city. Stark makes allies and enemies. Some of each group are lost in this struggle. And always Stark is the epitome of single-minded courage and unflinching drive. He is an impossible hero; but he is a great hero. It is this depiction of Stark, and the gritty, colorful depictions of the landscape, the many well drawn characters, and Brackett's endless imagination for people's and civilizations, which make this novel a good read.
Part two of the Eric John Stark trilogy.
Eric drove North to the enemy citadel to rescue his freind in the first volume. In this volume they move South by a different route toward the Spaceport. This time Stark has new allies, namely several very powerful war dogs he commands with telepathy. This Southern journey is at first much like the journey in part one. It has an episodic structure in which Stark's group encounters various hostle life forms. The land itself and everything on it is hostile. Once again the reader may wonder how anyone could survive on such a hostile world. At least this time fewer humanoids are willing to eat travellers.
The corrupt preisthood of the first book is still active. They control a major city and a powerful army, and more of those fiercly powerful wardogs. As Stark journeys South he realizes that to reach the Spaceport he must bypass the enemy city. And to do that he must become increasingly involved in planet politics. So as he moves he gathers an army. An army of those wanting an end to the preisthood's power. The novel's big set piece is the battle for that city. Stark makes allies and enemies. Some of each group are lost in this struggle. And always Stark is the epitome of single-minded courage and unflinching drive. He is an impossible hero; but he is a great hero. It is this depiction of Stark, and the gritty, colorful depictions of the landscape, the many well drawn characters, and Brackett's endless imagination for people's and civilizations, which make this novel a good read.
Friday, May 8, 2009
Camus - The Outsider aka The Stranger
The Outsider. Albert Camus. Penguin Books. 1988.
Albert Camus' The Outsider is his famous existential novel.
The trial portions are the most interesting and vital parts of the novel. And this from someone who normally is bored with courtroom stuff.
The earlier sections build the background needed for the later stages, and provide the needed plot developments that bring the hero to the his imprisonment. But the author seems impatient with these early portions, and writes in a minimalist style, not only for craft, but to get them over with quickly.
The brilliant dialogue, the philosophical theme, is packed into the trial stages. There are some great scenes here. And the hero is perhaps unique in literature.
I recommend reading through the first sections quickly, then after the arrest, especially once the trial begins, slow down the reading and think about what is being written. And enjoy!
Albert Camus' The Outsider is his famous existential novel.
The trial portions are the most interesting and vital parts of the novel. And this from someone who normally is bored with courtroom stuff.
The earlier sections build the background needed for the later stages, and provide the needed plot developments that bring the hero to the his imprisonment. But the author seems impatient with these early portions, and writes in a minimalist style, not only for craft, but to get them over with quickly.
The brilliant dialogue, the philosophical theme, is packed into the trial stages. There are some great scenes here. And the hero is perhaps unique in literature.
I recommend reading through the first sections quickly, then after the arrest, especially once the trial begins, slow down the reading and think about what is being written. And enjoy!
Monday, May 4, 2009
Brackett - Ginger Star
The Ginger Star. Leigh Brackett. Ballantine Books. 1974.
In this novel, Brackett reintroduces Eric John Stark, a hero of a couple of stories many years previous. After writing sf for many years, including some Stark tales, she turned to screenwriting. She wrote such films as Rio Bravo, and The Big Sleep. Shortly after returning to sf writing, she wrote Star Wars part five, The Empire Strikes Back.
The Ginger Star is part one of a three part series. It is a quest story. Stark arrives on a distant and hostile planet in search of his missing foster-father. The planet is ruled by dictators known as Wandsmen. Technology is limited. There is only one spaceport on the planet, set up recently by outsiders, and in danger of being shut down by the Wandsmen, who prefer to rule a dying planet than see the people leave for other worlds and be beyond their power.
The strongest part of the book is in the creation of the many places and people. Most are extremely vivid and well thought out. There is a sense that these people and places could be real.
On this planet there are city states, wandering nomads, and human hybrids. Almost all are unrelentingly hostile to all outsiders. The oceans are filled with creatures who were once human, then altered their own genes to adapt to an underwater environment. More millennium later, they have lost all trace of their humanity, and attack and devour any human who falls into the water. Another civilization has adapted itself to live underground. Several societies use magic derived from close contact with the natural forces of the planet. Others live in city-states more recognizable in lifestyle to Stark and to the reader.
This brings us to another key point of the book: most of the civilizations are cannibals. They not only kill outsiders, they eat them. This is explained as resulting from a lack of other food on the dying world. The few city states near the equator seem relatively benign; travel is possible, and they are not cannibals. But wandering hordes of religious fanatics named Farers make their life difficult also.
In this world, it is impossible to travel without a large heavily armed group. There is one city state that seems to be a gathering spot for travelers, but it is unclear where anyone might travel to in this hostile environment. Even the workers at bridges on routes between cities attack any party that seems insufficiently strong. Only one man lives as a trader. He has to establish and keep his route with armed force, and suffers constant attacks.
This world is designed to give Stark a lot of dangers to overcome. But it was designed too well. In such a brutal, inhospitable group of societies, to travel anywhere is absurd.
The device used to move Stark from one place to another is to be captured, over and over again, and carried along part way by his various captors. He escapes usually by luck, sometimes by his own efforts. This gimmick is another weakness of the book. He manages to encounter a danger without capture only once, near the book's conclusion, which sets up the sequel, or rather the continuation in volume two.
In this novel, Brackett reintroduces Eric John Stark, a hero of a couple of stories many years previous. After writing sf for many years, including some Stark tales, she turned to screenwriting. She wrote such films as Rio Bravo, and The Big Sleep. Shortly after returning to sf writing, she wrote Star Wars part five, The Empire Strikes Back.
The Ginger Star is part one of a three part series. It is a quest story. Stark arrives on a distant and hostile planet in search of his missing foster-father. The planet is ruled by dictators known as Wandsmen. Technology is limited. There is only one spaceport on the planet, set up recently by outsiders, and in danger of being shut down by the Wandsmen, who prefer to rule a dying planet than see the people leave for other worlds and be beyond their power.
The strongest part of the book is in the creation of the many places and people. Most are extremely vivid and well thought out. There is a sense that these people and places could be real.
On this planet there are city states, wandering nomads, and human hybrids. Almost all are unrelentingly hostile to all outsiders. The oceans are filled with creatures who were once human, then altered their own genes to adapt to an underwater environment. More millennium later, they have lost all trace of their humanity, and attack and devour any human who falls into the water. Another civilization has adapted itself to live underground. Several societies use magic derived from close contact with the natural forces of the planet. Others live in city-states more recognizable in lifestyle to Stark and to the reader.
This brings us to another key point of the book: most of the civilizations are cannibals. They not only kill outsiders, they eat them. This is explained as resulting from a lack of other food on the dying world. The few city states near the equator seem relatively benign; travel is possible, and they are not cannibals. But wandering hordes of religious fanatics named Farers make their life difficult also.
In this world, it is impossible to travel without a large heavily armed group. There is one city state that seems to be a gathering spot for travelers, but it is unclear where anyone might travel to in this hostile environment. Even the workers at bridges on routes between cities attack any party that seems insufficiently strong. Only one man lives as a trader. He has to establish and keep his route with armed force, and suffers constant attacks.
This world is designed to give Stark a lot of dangers to overcome. But it was designed too well. In such a brutal, inhospitable group of societies, to travel anywhere is absurd.
The device used to move Stark from one place to another is to be captured, over and over again, and carried along part way by his various captors. He escapes usually by luck, sometimes by his own efforts. This gimmick is another weakness of the book. He manages to encounter a danger without capture only once, near the book's conclusion, which sets up the sequel, or rather the continuation in volume two.
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