Civilizations Beyond Earth: A Different Angle – Part 2

June 6th, 2013

by Larry Klaes, space exploration enthusiast, science journalist, SF aficionado. The article first appeared at Centauri Dreams.

Part 1

Public Perceptions of ETI

Professional SETI researchers and other scientists tend to avoid the public perceptions about aliens, which they find to be full of undisciplined ideas and a tendency to buy into stories and reports about sightings of alien spaceships and their occupants. A fear of being lumped into the fringe realm of pseudoscience is among the top reasons why SETI has stuck with remote searches of distant star systems. However, there is a slowly opening acceptance that some ETI might send probes to our Sol system to observe us discreetly, perhaps in the Main Planetoid Belt or using nanotech devices or even smaller observing and data collecting technology scattered across Earth.

Several chapters of the book are devoted to polling the general public on the subject of alien life. Unrestrained by scientific parameters and paradigms, their theories and beliefs range from having aliens be the saviors of humanity to our destroyers. They also tend to be much more accepting of the idea that many ETI may already be here monitoring us.

In an ironic twist, the public often thinks of the physical appearance of alien beings as essentially humanoids with a large head and eyes, no visible ears, and slim bodies. On the other hand, scientists who focus on exobiology see life taking on many different forms on different worlds due to evolution. Nevertheless, because we know so little about life beyond Earth, a wide variety of viewpoints can be a welcome thing, as there are times when a different perspective on such a subject could be the key to discovery.

Among the most interesting papers in this collection were the ones where different human cultures interact with each other in space and time. In “Encountering Alternative Intelligences: Cognitive Archaeology and SETI”, Paul K. Wason looks at one of the fifteen humanoid species which have shared this planet with us, namely the Neanderthals. Although they existed in Europe around the same time with modern humans and even interbred with each other, their branch of the family tree died out roughly thirty thousand years ago. Clues from the archaeological record indicate that Neanderthals were quite different in many fundamental ways from current humanity despite being hominids which evolved on Earth. Even though their brains were a bit larger than ours, Neanderthal was not as sophisticated in many ways if we go by the evidence that has survived the ages. Regarding how scientists have learned as much as they do know about Neanderthals, Wason said: “Could it be also that one of the best ways of preparing for interstellar communication with other intelligences would be to engage in more study of how human intelligence works?”

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Several centuries ago, there were two genetically related but otherwise very different human cultures which did interact with each other and for which we have extensive records of those encounters. In “The Inscrutable Names of God: The Jesuit Missions of New France as a Model for SETI-Related Spiritual Questions,” Jason T. Kuznicki, a research fellow at the Cato Institute, describes what happened when a group of Roman Catholic Jesuits sailed to North America starting in the Seventeenth Century to convert the native tribes living around the Canadian side of the Great Lakes region.

Armed with the tools of their religion, which included the presumptions of French philosopher Rene Descartes and Saint Thomas Aquinas that reason would inevitably bring everyone to the conclusion that the Christian God and souls exist, the Jesuit missionaries soon discovered that the Native Americans they met did not share these views or come to any of the same conclusions as the Jesuits thought would happen in matters of deities and the afterlife.

Here were fellow humans separated by a few thousand miles of ocean and yet the two cultures not only had wildly different views on many things, they also lacked the words of their languages to clearly get across their ideas on spiritual and religious matters. Now imagine what might take place between two entirely different species from separate worlds light years apart. Would an alien species even have a religion?

One aspect of Kuznicki’s paper which was not touched upon were the underlying motives for the Jesuits being in North America and attempting to convert the natives there: The French wanted to secure the New World for themselves from the competing British and Spanish powers. Having the Native Americans as allies would certainly help their cause, either through assimilation or coercion. Should an ETI contact us via interstellar transmissions or arrive in person at our world, this is one aspect of such an encounter that requires the study of historical precedents from our species. The scientists would assume the alien visitors are just explorers, but the historian might think otherwise. Even an ETI that came here with the purpose of doing what it thinks is good for us might have unexpected consequences for humanity.

The Question of Artificial Intelligence

Civilizations Beyond Earth does have its limitations. The focus is mainly on biological entities, which makes sense considering the authors. However, to not offer at least a few papers by some computer experts on artificial intellects, or Artilects as coined by Hugo de Garis, is hardly advancing our knowledge base of all scientific aspects of ETI. In this respect it is no better than focusing on radio as a means of interstellar detection and communication while ignoring Optical SETI and searching for Dyson Shells and alien probes in our Sol system.

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Granted, there is a paper by William Sims Bainbridge titled “Direct Contact with Extraterrestrials via Computer Emulation”, which proposes the idea that a person could have themselves downloaded into a computer simulation as an avatar, or at least a psychological reproduction of themselves. Bainbridge envisions the avatars being beamed into space via radio waves to do the exploring and contacting with ETI.

Presumably this would have to be an enhanced version of the humans who choose to go this route, otherwise we encounter the limits of understanding an alien mind that would be little different than if we tried to comprehend an ETI with our own selves. Other chapters do deal with the complexities and difficulties in trying to communicate even basic concepts to an alien species, especially if we have few frames of reference. Would an Artilect with its faster computing speeds and much larger data storage do this better? Would sentience be required for this task or just a highly sophisticated simulation resembling awareness? Perhaps a revised edition of this book will add papers devoted to these questions concerning Artilects.

As Seth Shostak says in his article “Are We Alone?” regarding the Drake Equation, but which could also mirror what is missing and incomplete from this book:

“In other respects, [the Drake] equation might be too cautious. It assumes that all transmitting cultures are still located in the solar system of their birth. This ignores the possibility of colonization of other star systems (difficult, but not forbidden by physics), or the possible deployment of transmitting facilities far from home. In addition, it does not deal with the development of synthetic intelligence – thinking machines that would not be constrained to watery worlds orbiting long-lasting stars. In short, it makes the assumption that “they” are much like “us.”

For those who might argue that we may be unable to deduce the thought processes and motives of artificial minds far larger and faster than our own, the same could be said for any kind of biological alien species: Such beings could take on many forms and be just as inscrutable as an Artilect, yet that has not stopped many humans of all stripes on this planet from offering their views on organic ETI. One advantage with Artilects is that we can work towards actually creating or simulating them and thus have direct access to another intelligent mind.

Unfortunately, many people fear that Artilects could use their superior intellects to dominate or destroy humanity, just as they also expect advanced ETI to arrive in starships with similar goals. Whether that may ultimately happen or not, this general fear combined with a limited education on and cultural ridicule about the subjects relevant to SETI/METI have made their “contributions” to the reality that over half a century after the first serious SETI program, traditional searches continue in a largely sporadic fashion with limited funds, seldom expand beyond the radio and optical realms, and remain dominated by astronomers and engineers.

Human Expansion into the Galaxy

These views and paradigms also extrapolate to interstellar efforts such as Worldships, self-contained vessels carrying thousands of people on multigenerational journeys to other star systems. The goal of these Worldships is to colonize suitable planets and moons in the target system or at least collect resources from them before moving on to other galactic destinations.

How those who will remain onboard for perhaps many centuries will survive and adapt has been studied far more in the pages of science fiction than anywhere else, for obvious reasons. Will those who arrive at their intended worlds be radically different from their ancestors back on Earth? Will their interaction with any ETI they encounter diverge from the initial intentions of those who sent them off into the galaxy? As said earlier regarding Artilects, perhaps a revised edition of this work or a new book altogether devoted to very long term exploration and its consequences on those who make the voyage both aboard the Worldship and upon the places they settle will make inroads to answering these questions.

There is a strong desire or perhaps even a natural reaction to colonize any Earthlike exoworlds as part of some cosmic manifest destiny. Unless we terraform some barren rock, a planet similar to our own will be so not only in terms of size and environment, but also due to having life upon it. Even if none of the organisms on this alien world are sentient (and how exactly will we define that?), do we have the right to introduce terrestrial species there? If the situation was reversed and an ETI arrived at Earth to set up a new home, even if they desired a peaceful coexistence, imagine the reaction from humanity.

Even a robotic mission could cause unforeseen issues in the future. Already at this early stage in our expansion into space we have five probes and most of their final rocket stages heading beyond the boundaries of the Sol system into the wider Milky Way galaxy. Although none of them will be functioning by the time they could ever reach another star system, their very existence drifting and tumbling uncontrolled and aimless through deep space might one day become a problem for beings of which we are completely unaware at present.

We can declare that the galaxy is much too vast and these probes far too small to ever gain notice by any intelligences out there. We can say that any beings who could find these emissaries from Earth would have to be quite sophisticated and savvy with the ways of the interstellar realm and thus capable of dealing with a comparatively primitive, ancient, and inactive derelict from a species such as us.

In the end, however, the truth is that we do not yet know who or what is occupying the galaxy with humanity. We cannot say with certainty how an alien species might react and respond to an unexpected visitor from another world – though we can make some pretty good guesses as to how our civilization would behave in a similar scenario.

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As we have already discussed with regards to SETI and METI, again the astronomical scientists and space engineering and technical fields often differ in their views on these matters compared to the anthropologists, sociologists, biologists, and historians. At least some of the gaps between the disciplines were bridged by the incorporation of messages and information packages on the Pioneer, Voyager, and New Horizons space probes. Whether these “gifts” will be recognized and understood by the recipients is yet another unknown factor, but they are a step in the right direction.

The issue of our physical intrusion into the Milky Way will become even more prominent and serious as we develop and launch probes – operated by Artilects most likely – designed to reach and explore other solar systems. In this case, humanity may receive responses from other intelligent beings in a matter of years or decades as opposed to millennia. What may happen and how our descendants might handle an ETI reaction will depend on how far our culture has come in terms of being more wide ranging and inclusive in our understanding of the Cosmos.

Civilizations Beyond Earth may be a slim book, but it is a good introduction to fields that need to be vital parts of any serious discussion of the scientific activities regarding extraterrestrial intelligences. If SETI and METI remain lopsided in their thinking, methods, and executions, the stars will likely continue to remain silent for the human species for a long time to come.

Not to know if we are either alone or one of many living beings in the Universe when we finally have the awareness and ability to answer this very important question would be a tragic shame, an affront to the very reason we have science and a civilized society in the first place. Let us not answer the L portion of the Drake Equation too soon from a lack of wonder, education, and funds.

Civilizations Beyond Earth: A Different Angle – Part 1

June 4th, 2013

by Larry Klaes, space exploration enthusiast, science journalist, SF aficionado.  The article first appeared at Centauri Dreams.

SETI, the Search for Extraterrestrial Intelligence, has traditionally operated on the premise that there may be beings in the Milky Way galaxy and beyond who are smart, aware, and interested enough to deliberately attempt to contact other similarly advanced societies in the Universe.

The primary purpose for such an effort would be to alert any potential celestial neighbors to their presence for the exchange of information and ideas about themselves, their home world, and their take on existence. Their methods of transmission would include certain forms of electromagnetic radiation which the various parties should have in common, such as radio and light waves. This Messaging to Extraterrestrial Intelligences, or METI, is considered to be not only less complex and faster than sending a robotic or crewed vessel from one star system to another – barring the discovery of a way to move faster than light (FTL) – but also far less expensive and much safer for both sides.

The alien version of METI is presumed to be conducted by scientists using not their native language but rather some form of basic mathematics for the initial efforts at getting our attention and conducting basic conversations. This remedial arithmetic would serve as the assumed common key to eventually allow both species to use their own conventional languages to exchange more detailed information.

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This thinking is strongly reflected in the 1985 novel Contact (and the 1997 film version), the only major work of science fiction produced by astronomer, science popularizer, and SETI/METI pioneer Carl Sagan. In his story, Sagan envisioned a highly advanced, vast, and ancient alien technological civilization which transmits an initial message via radio waves to species they deem potentially worthy of dealing with. One day humanity receives this opening greeting from them in the form of the first one hundred prime numbers, which are digits divisible only by themselves and one. Prime numbers are a pattern produced by no known natural phenomenon.

On SETI Assumptions

If the bipedal residents of the planet Earth can detect and recognize the artificial nature of the primes being sent (“mathematics [is] the only truly universal language” declares the main character Ellie Arroway at one point in response to a visiting senator who wanted to know why the aliens didn’t just speak English) along with the subsequently more complex information which then follows, then one day we might be able join an entire galactic community of civilizations. This society would be similar to the United Nations, only on a celestial scale and with members of many different species from a diversity of alien worlds across space and time, yet somehow all managing to work together for the common cosmic good.

These assumptions, while not implausible, do reflect a particular scientific take regarding SETI, METI, and the nature and behavior of technological alien beings. The question is, does the fact that we have yet to confirm a recognizably artificial signal of extraterrestrial origin after six decades of modern SETI (and a handful of METI) activities mean that our scientific assumptions about intelligent aliens need to be revised, or have we just not been searching long and hard enough? Or perhaps both?

Since astronomer Frank Drake performed the first modern extraterrestrial hunt program in 1960 with a radio telescope search he called Ozma, SETI has traditionally been dominated by radio (and later optical) astronomers, as they are the ones who have conducted the majority of the searches for alien signals to the present era. Their parameters were and are still dictated by the contemporary limitations of what humanity can accomplish when it comes to interstellar distances and the paradigms of their fields and views on intelligent life elsewhere.

As for relevant disciplines outside of astronomy involved in SETI, there have been token representatives present going back to the first modern era SETI conferences, thanks in large part to Sagan. But usually the conferences and the projects were dominated by astronomers, who focused heavily on radio SETI and the technical details of such interstellar communications. Often they would use the famous Drake Equation (N = R* x fp x ne x fl x fi x fc x L) as their template but tend to gloss over the parts of that linear equation which were hard to quantify, which included most of it. This was especially done with fc and L, the fraction of civilizations that develop the means to let others in the galaxy know they exist and the overall lifetime of such technological societies, respectively.

Like most scientists, they felt comfortable with numbers, tangible facts, and mechanics. Why would an alien signal us? Well, because they could, so they would. They wanted to exchange knowledge because the operators had to be fellow scientists, which meant that even though they were alien, they had to think similarly to us, otherwise they would not be conducting METI/SETI. We were looking for versions of us, very specific versions if truth be told.

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The accuracy of the statements is attested by Mark A. Sheriden’s excellent and insightful work titled SETI: A Critical History. From Chapter 10, Sheriden gives this quote from Dr. Jill C. Tarter, the recently retired director of the Center for SETI Research at the SETI Institute in Mountain View, California:

Not long after the [1979 NASA Life in the Universe] conference Jill Tarter, a key member of SETI’s second-generation leadership team, acknowledged that SETI was, indeed, “tuned” to find humanoids. “Those forms that we do find in this manner [i.e., a SETI-style search] will be more similar to life as we understand it than other forms that may exist. We put a filter on the problem.”

When asked what she would do differently if starting over again to study ETIs, Tarter responded with an echo of Shklovskii’s complaint prior to Byurakan-II, that the American SETI scientists failed to acknowledge the “complexity” of the problem they faced and, in particular, were ignoring the “humanities and biological aspects.” Tarter said, “I neglected biology, and civilizations, and paleontology.” In other words, she would have paid more attention to the “nature” aspects of the opportunity SETI represented.

Puzzling Out Alien Motivations

Why would an alien intelligence want to contact the stars? The possible motivations for such actions – or lack thereof – are just as important for the success of SETI and METI as figuring out how beings from another world (assuming the majority live on a planet or moon in the first place; another paradigm, perhaps?) might go about sending out signals into the galaxy.

Anthropologists, sociologists, biologists, and historians might have a clue in this area. At present they may have the native dwellers of only one planet to base their research and ideas upon, but at least it is a world with a very wide variety of life and an ancestry dating back at least 3.8 billion years.

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These fields and their practitioners are given their due in the book Civilizations Beyond Earth: Extraterrestrial Life and Society, edited by Douglas A. Vakoch and Albert A. Harrison and published by Berghahn Books (New York, 2011). Vakoch, who also edited the book Communication with Extraterrestrial Intelligence (SUNY Press, New York, 2011) is the Director of Interstellar Message Composition at the SETI Institute and Professor of Clinical Psychology at the California Institute of Integral Studies. Harrison is Professor Emeritus in the Department of Psychology at the University of California, Davis.

Reading through the collected papers in Civilizations Beyond Earth reminded me of one of the first works I came across that was directly critical of the parameters modern SETI had laid down in its milestone years of 1959 and 1960, The Inner Limits of Outer Space by Dartmouth professor John C. Baird (Hanover, New Hampshire: University Press of New England, 1987). The author of the first major book on SETI by a professional psychologist, Baird was also part of Project Oasis, a NASA plan in 1979 to help design the multi-channel spectrum analyzer to be used in the space agency’s own burgeoning SETI project.

Baird pointed out how those involved in searching for extraterrestrial intelligences were spending a great deal of their time and resources in designing and building the instruments they planned to use, but not nearly as much in turn when it came to really thinking about what kind of beings might be out there and why they might want to conduct METI at all. Baird’s words and thoughts throughout The Inner Limits of Outer Space mirror what one finds twenty-four years later in Civilizations Beyond Earth. Neither work wants to do away with SETI so much as redefine it to improve the chances for success based on a more realistic or at least more open approach to alien life. The similarities also include the conclusion that even though current SETI is problematical in terms of detecting an actual extraterrestrial signal, it cannot hurt to keep trying for, to quote the current advertising motto of the New York State Lottery: “You never know.”

Among the highlights of Civilizations Beyond Earth which take it beyond the usual examinations of SETI and its related fields is the focus on what the general public, or laypersons, think and say about extraterrestrial life, in particular the intelligent kind.

Part 2

Ancestors Watch Over Her: Aliette de Bodard’s Space Operas

May 30th, 2013

Note: this is part of a series in which I discuss works of the contributors to The Other Half of the Sky.  Links to other entries in the series appear at the end of each discussion.

Red Station coverBy 2011 I had reached the point where I found SFF-as-usual intolerable, as a cross-section of my blog entries will attest.  The blinkered parochialism, the impoverished imagination, the retreading of exhausted tropes and regressive clichés left me annoyed and – the kiss of death – bored.  So before giving up on the genre altogether, I went out into the edges where the shrubs aren’t all pruned into the same shape and looked around for unruly life.

One of the names that popped up was Aliette de Bodard, a French-Vietnamese computer engineer.  Her two major worlds are a fantasy Aztec universe in which gods are real; and a near-future SF one in which North America is divided between two superpowers: a still-powerful Aztec oligarchy (Mexica) controls the South, an empire of pre-Manchu-invasion Han Chinese (Xuya) the West. There’s a shrunken USA in the Northeast and both Incan and Mayan polities are still extant.

The Mexica are an continuation of the pre-conquista Aztec culture whereas the Xuya are a Confucian society that has retained extended families, age seniority, scholar supremacy and ancestral worship, though its women can attain high official positions as well as practice polyandry.  Two Xuyan stories were originally on the site: “The Lost Xuyan Bride” and “The Jaguar House, In Shadow”.  I liked them for reasons of both style and content, including the non-Anglo settings and minor-key endings, and said to myself, This is prime space opera material.  Let’s see if her future Xuyan stories unfold amid the stars.

To my delight, the Xuyan stories that followed the first two (“The Shipmaker”; “Shipbirth”; “Scattered along the River of Heaven”; “Heaven under Earth”; “Immersion”; “The Weight of a Blessing”; On a Red Station, Drifting; “The Waiting Stars”) indeed took to the stars and made the universe larger and deeper.  Several ingredients got added when de Bodard made her cultures interstellar: memory implants that literally allow “worthy” descendants to get advice from their ancestors; Minds (hybrids of Iain Banks and Farscape equivalents) who run starships and space stations, their abodes designed by feng shui adepts; and the Dai Viet spacefaring culture, a “softer” Confucian society based on extrapolation of an imperial Viet on earth that threw off both French and Chinese invaders, though it must still fight the other powers (Mexica, Xuyan and the generically named Galactics, European/US proxies) to maintain territory and status.

Within this setting, de Bodard explores the rewards and problems of extended families and of hierarchical societies; the wounds and scars of imperialism and colonization and the shortcomings of different types of ruling structures; the clashes between societies and between classes within each culture; alternative family arrangements (from male pregnancy to lesser/greater partners in dyadic marriages, the ranking determined by collective standards); the promise and danger of immersive, invasive neurotechnology; the dilemmas of creating Minds, Borg-like immortals embedded in starships and space stations, born at great peril by human mothers and considered family members – genii loci and living ancestors in one.

As a representative slice of this universe, the novella On a Red Station, Drifting (Immersion Press, $14.95 print, $2.99 digital) takes place on Prosper, a Dai Viet space station inhabited by essentially a large extended family of distant relatives plus a small Xuyan contingent.  The story centers on the conflict between two powerful women: Lê Thi Linh, a scholar and magistrate in political exile who requests asylum on the station, and her cousin, Lê Thi Quyen, who has become stationmistress by default.  Added to the mix are the station Mind who is slowly but inexorably failing, the agendas of other members of the Lê immediate family, and the strain put on Prosper’s people and resources by the faraway yet intrusive interstellar wars.

The story starts in media res, as is de rigueur for SF, and shifts back and forth between Linh and Quyen as (unreliable) narrators.  Both are supremely capable and accustomed to authority, yet have cracks in their self-esteem for reasons related to their status.  As a result, they are hypersensitive to slights, real and perceived.  Their prickly pride and the Dai Viet culture’s standards of obliqueness and reticence set up the stage for a confrontation that pulls others into its vortex.  During the ensuing battle of wills, many of the characters in Red Station cross into gray ethical territory or outright emotional cruelty.

De Bodard navigates deftly through this complex, polyphonic structure that’s part family saga, part cultural and political exploration, part space opera – but (happily) without blazing plasma guns, macho messiahs or standard father/son convolutions.  None of the story’s devices are original but many are freshly recast: the unstable AI (de Bodard’s Minds are direct descendants of Joan Vinge’s Mactavs in “Tin Soldier”, including their gender); the space station in jeopardy (in this subcategory, Red Station ties as my favorite with C. J. Cherryh’s Downbelow Station and M. J. Locke’s Up Against It); neural/VR familiars (here explicit ancestral presences); design magicians (in this universe, the multi-skilled engineers who shape the stations/ships and their resident Minds).

The family dynamics are complex but clear and, as is typical of de Bodard’s stories, center on interactions between second-degree relatives rather than the more common first-degree ones.  The two principals are well realized, with all their strengths, flaws and blind spots – though Linh is given more distinguishing small idiosyncrasies than Quyen.  However, secondary characters remain quasi-generic types, with the partial exception of Quyen’s tortured brother-in-law and the fleetingly glimpsed but unforgettable Grand Master (Mistress) of Design.

There’s enormous tension in the story despite its leisurely pace, generated by the jeopardies inherent in the situation (annihilation of Prosper and its people is a real possibility and can come from several directions, including their own side) and also from the fact that none of the many subplots are completely resolved.  Nor are any of the characters, several chafing against societal roles and expectations, fully reconciled to their fates or to each other.  In this, Red Station is far closer to mainstream literary novels than the neatly tied endings common in SFF.

The style, straightforward with occasional flourishes, serves the story well: the membrane of illusion is never punctured.  Vivid touches, from subtly nuanced poetry to mention of war-kites (a Yoon Ha Lee influence?) to xanh (read cricket) fights do much to make the Viet culture come to life – although if you’ve read other stories in this universe, you notice the recycling of fish sauce, zither sounds and wall calligraphy as cultural shorthands.

deBodardThe most striking attributes of Red Station are not its intricate worldbuilding and plot, unusual and well-executed as they are.  What makes it stand out is that its two fulcrums are women who clash over primary power, not over lovers, children or proxy power through male relatives; and that the story is set entirely within the Dai Viet context, making it the norm rather than an “exotic” variant juxtaposed to a more easily recognized “default”.  Similar recastings distinguish all of de Bodard’s space operas and I, for one, hope she continues telling us stories of this universe.  She deserves her recent Nebula award.

Cover art by Nhan Y Doanh

In the same series:

The Hard Underbelly of the Future: Sue Lange’s Uncategorized

Shimmering Kaleidoscopes: Cat Rambo’s Near + Far

Steering the Craft – Reprise

May 24th, 2013

Preamble: In October of 2010, I wrote an essay for the blog of Apex Magazine in response to a then-regular columnist’s whinings about  “quality compromised by diversity and PC zombies” in life as well as speculative literature.  Later on the Apex site was hacked, and its owner decided not to go through the laborious work of restoring its archive.  In view of the recent discussions about women in SF (again… still…) and as a coda to The Other Half of the Sky, I’m reprinting the essay here, slightly modified.

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Remedios Varo, The Creation of the Birds (1957)

In honor of:
the Mercury 13 astronauts, who never got past the gravity well;
Rosalind Franklin, who never got her Nobel;
Shamsia and Atifa Husseini, who still go to school after the Taliban threw acid on their faces.

Cultural standards of politeness vary widely.  In the societies I’m familiar with, it’s considered polite (indeed, humane) to avert one’s eyes from someone who has pissed himself in public, especially if he persists in collaring everyone within reach to point out the interesting shape of the stain on his trousers.  At the same time, if he also splattered on my great-grandmother’s hand-embroidered jacket to demonstrate how he – alone among humans – can direct his stream, I’m likely to ensure that he never comes near me and mine again in any guise.

Yet I must still put time and effort into removing the stain from that jacket, which I spent long hours restoring and further embroidering myself.  It’s not the only stain the garment carries.  Nor are all of them effluents from those who used it and its wearers as vessels into which to pour their insecurity, their frantic need to show themselves echt members of the master caste du jour.

The jacket also carries blood and sweat from those who made it and wore it to feasts and battles long before I was born.  Unless it’s charred to ashes in a time of savagery, probably with me in it, many will wear it after me or carry its pieces.  Whenever they add their own embroidery to cover the stains, the gashes, the burns, they won’t remember the names of the despoilers.  And when my great-grandniece takes that jacket with her on the starship heading to Gliese 581, her crewmates will admire the creativity and skill that went into its making.

So gather round, friends who can hoist a goblet of Romulan ale or Elvish mead without losing control of your sphincter muscles, and let’s talk a bit more about this jacket and its wearers.

If you insist that only sackcloth is proper attire or that embroidery should be reserved only for those with, say, large thumbs, we don’t have a common basis for a discussion.  But I’ll let you in on a couple of secrets.  I’ve glimpsed my nephews wearing that jacket, sometimes furtively, often openly.  They even add embroidery patches themselves.  And strangely enough, after a few cyclings I cannot guess the location of past embroiderers’ body bulges from the style of the patches or the quality of the stitches.  I like some much more than others.  Even so, I don’t mind the mixing and matching, as long as I can tell (and I can very easily tell) that they had passion and flair for the craft.

In one of the jacket’s deep pockets lies my great-grandmother’s equally carefully repaired handmade dagger, with its enamel-inlaid handle and its blade of much-folded steel.  When I see someone practicing with it, on closer inspection it often turns out to be a girl or a woman whose hair is as grey as the dagger’s steel.  They weave patterns with that dagger, on stone threshing floors or under skeins of faraway moons.  Because daggers are used in dance – and in planting and harvesting as well, not just in slaughter.  And they are beautiful no matter what color of light glints off them.

But before we dance under strange skies, we must first get there.  Starships require a lot of work to build, launch and keep going.  None of that is heroic, especially the journey.  Almost all of it is the grinding toil of preservation: scrubbing fungus off surfaces; keeping engines and hydroponic tanks functional; plugging meteor holes; healing radiation sickness and ensuring the atmosphere stays breathable; raising the children who will make it to planetfall; preserving knowledge, experience, memory while the ship rides the wind between the stars; and making the starship lovely – because it’s our home and people may need bread, but they also need roses.

As astrogators scan starmaps and engineers unfurl light sails while rocking children on their knees, the stories that keep us going will start to blend and form new patterns, like the embroidery patches on my great-grandmother’s jacket. Was it Lilith, Lakshmi Bai or Anzha lyu Mitethe who defied the ruler of a powerful empire?  Amaterasu, Raven or Barohna Khira who brought back sunlight to the people after the long winter sleep?  Was it to Pireus or Pell that Signy Mallory brought her ship loaded with desperate refugees?  Who crossed the great glacier harnessed to a sled, Sidney Poitier and Tony Curtis, or Genly Ai and Therem harth rem ir Estraven?

Our curiosity and inventiveness are endless and our enlarged frontal cortex allows dizzying permutations.  We shape the dark by dreaming it, in science as much as in art; at the same time, we constantly peer outside our portholes to see how close the constructs in our heads come to reflecting the real world.  Sometimes, our approximations are good enough to carry us along; sometimes, it becomes obvious we need to “dream other dreams, and better.”  In storytelling we imagine, remember, invent and reinvent, and each story is an echo-filled song faceted by the kaleidoscope of our context.  To confine ourselves to single notes is to condemn ourselves to prison, to sensory and mental deprivation.  Endless looping of a single tune is not pleasure but a recognized method of torture.  It’s certainly not a viable way to keep up the morale of people sharing a fragile starship.

In the long vigils between launch and planetfall, people have to spell each other, stand back to back in times of peril.  They have to watch out for the dangerous fatigue, the apathy that signals the onset of despair, the unfocused anger that can result in the smashing of the delicate machinery that maintains the ship’s structure and ecosphere.  People who piss wantonly inside that starship could short a fuel line or poison cultivars of essential plants.  The worst damage they can inflict, however, is to stop people from telling stories.  If that happens, the starship won’t make it far past the launchpad.  And if by some miracle it does make planetfall, those who emerge from it will have lost the capacity that enabled them to embroider jackets – and build starships.

We cannot weave stories worth remembering if we willingly give ourselves tunnel vision, if we devalue awareness and empathy, if we’re content with what is.  Without the desire to explore that enables us to put ourselves in other frames, other contexts, the urge to decipher the universe’s intricate patterns atrophies.  Once that gets combined with the wish to stop others from dreaming, imagining, exploring, we become hobnail-booted destroyers that piss on everything, not just on my great-grandmother’s laboriously, lovingly embroidered jacket.

The mindset that sighs nostalgically for “simpler times” (when were those, incidentally, ever since we acquired a corpus collosum?), that glibly erases women who come up with radical scientific concepts or write rousing space operas is qualitatively the same mindset that goes along with stonings and burnings.  And whereas it takes many people’s lifetimes to build a starship, it takes just one person with a match and a can of gasoline to destroy it.

It’s customary to wish feisty daughters on people who still believe that half of humanity is not fully human.  I, however, wish upon them sons who will be so different from their sires that they’ll be eager to dream and shape the dark with me.

…like amnesiacs
in a ward on fire, we must
find words
or burn.

Olga Broumas, “Artemis” (from Beginning with O)

SusanSeddonBouletSpiderWoman
Susan Seddon Boulet, Shaman Spider Woman (1986)

Related blog posts:

Is It Something in the Water? Or: Me Tarzan, You Ape
SF Goes McDonald’s: Less Taste, More Gristle
The Andreadis Unibrow Theory of Art
Standing at Thermopylae
To the Hard Members of the Truthy SF Club
The Persistent Neoteny of Science Fiction

To Boldly Go…Where We’ve Been Before

May 18th, 2013

by Calvin Johnson

I’m delighted to once again host my friend Calvin Johnson, who earlier gave us insights on Galactica/Caprica, Harry Potter and The Game of Thrones.

Single Crash

Last summer while staying with a friend, I watched reruns of the TV series Have Gun Will Travel, starring Richard Boone as Paladin, a mercenary gunslinger and “problem solver” in the Old West.  The series presented a classic example of the myth of redemptive violence: Paladin preferred to solve problems without violence but was handy with a gun or fisticuffs when forced, and by golly more episodes than not the bad guys would still pull a gun or a knife and poor Paladin would be forced, just forced to kill them.

Violence has been and always will be part of our cultural narratives and entertainment, but the myth of redemptive violence resonates strongly with Americans. This is not surprising, give the birth of the American nation and concept of liberty in a violent revolution, as well as our self-perception as coming to the rescue of the world in two world wars.  Redemptive violence, and in particular the image of villain lunging forward with a weapon forcing the hero to kill him or her (see, for example, Dirty Harry, Fatal Attraction, even Jody Foster’s Anna and the King, and many, many, many more movies and TV shows), has become a ubiquitous trope in American entertainment; no wonder we, as a nation, are puzzled when our attempts to solve political problems by violence backfire.

Nonetheless, I found Have Gun Will Travel interesting, in part because the series provided a training and testing ground for a generation of television directors, not least of whom was Gene Roddenberry, whose Have Gun Will Travel episodes strongly reminded me of the morality plays he would later create in Star Trek.

Although Captain James Tiberius Kirk threw a mean punch and knew how to fire a phaser, in Star Trek Roddenberry sought occasionally, though not always, to undermine the myth of redemptive violence. In multiple episodes it is revealed that malicious aliens manipulated characters into fights, whereupon Kirk highhandedly throws down his arms and refuses to go along with the narrative of violence.

I don’t mean to overpraise Roddenberry and Star Trek, but in many respects it (and the science fiction of the 1960’s and ’70’s) was a high point for science fiction television and media, attempting to thoughtfully probe culture and society. Unfortunately, the late 1970’s and early ’80’s brought forth Star Wars, Alien, and Terminator, movies with science fiction tropes which didn’t just embrace redemptive violence but pledged unending love for it, and made bucketloads of money.  Thereafter Hollywood came to accept science fiction = blowing stuff up as an axiom.

Therefore it was disappointing, though not surprising, that the 2009 reboot of Star Trek was all redemptive violence all the time. The explosions and the snarky banter entertained the younglings for whom the original series of Star Trek was a vague topic their aged forebears enjoyed, in the same category as morris dancing and landline phones; but for those of us who grew up on it, it felt like a cynical betrayal.

Despite my disappointment, I went to see Star Trek: Into Darkness, the next installment by J.J. “I’m not a fan of Star Trek” Abrams, on opening night. And I’ll confess, I enjoyed it, at least while I was watching it. It was only later, upon reflection, that it became clear this was cultural cannibalism, along with the attendant cultural kuru.

Much of the cleverness and delight was situated in off-hand references to well-known characters and incidents (Nurse Chapel, Harry Mudd), and the remainder in the reciting and reversal of classic lines, to the point where I could whisper to my wife the line before the actor said it–and this was my first viewing of the movie.

Spock is well-written and well-acted by Zachary Quinto, and his struggle with his dual heritage handled deftly; and Simon Pegg’s comedy chops have pushed him to the forefront as a major player in this film.  While Zoe Saldana’s Uhura has more screen time and more agency, she is still one-dimensional, as if the white male writers had decided “We’ll write a Strong Black Female” and thought that ended their job; she was actually better drawn in the 2009 movie.  McCoy, who had been a vital part of the triumvirate of the original series, has now been relegated to the position of Comic Series of Overblown Signature Lines, which wouldn’t have been bad if Uhura had been allowed to truly take his emotional place in the Kirk-Spock-X triad.

Worst of all, Chris Pine’s Kirk comes across not as a brash, flawed leader, the Bill Clinton of outer space as it were, but as a whiny, know-it-all teenaged horndog. It makes William Shatner’s performances, by comparison, look nuanced and subtle.

And then there is plenty of blowing stuff up.

The writers and the director seem dimly aware that a Star Trek movie ought to be about more than blowing stuff up: characters are restrained from killing other characters, not out of morality but out of necessity; the militarization of Starfleet is deplored; and the movie ends with a belated speech against revenge.  But this seems to have looped back to the days of Have Gun Will Travel, excuses for violence with a veneer of a morality play.

Interestingly, Star Trek: Into Darkness echoes closely a theme found in another current blow-em-up movie, Iron Man 3. In both films acts of terrorism are revealed as rooted in the evils of the industrial-military complex, though Ben Kingsley makes a much more twisty and interesting villain than Benedict Cumberbatch’s John Harrison.

While Kirk is slowly evolving into the wiser, more strategic Captain of the original series, and while, despite my complaints I found Into Darkness less irritating than the 2009 reboot, afterwards I found myself hoping against hope they don’t make a third movie. Unless they can find a director who can take it to a new level. I’d vote for Alfonso Cuarón, whose Harry Potter and the Prisoner of Azkaban, the best of the Potter series, demonstrated both a nimble visual flare and a strong sensibility for characters.

But that would mean to boldly go in a  new direction, something Hollywood is, alas, loath to do.

Carol Marcus

Athena’s footnote: I have thoughts of my own on STID that parallel Calvin’s and Devin Faraci’s in Badass Digest. I’ll share them if I get a spare moment but they’re encapsulated in the images I chose to accompany this entry.

Images: 1st, summation of the reboot ST (aka ST||) universe; 2nd, Dr. Carol Marcus as comparison shorthand between ST|| and the original ST.

“Where is My Baby, My Daughter, My Bird?”

May 9th, 2013

— father of one of the more than 900 workers killed in the illegally, shoddily constructed garment factory that collapsed in Savar, Bangladesh on April 24, 2013.

Akhter, Savar 1

Photo by Taslima Akhter, Bangladeshi activist and photographer, who comments on it here.

Shimmering Kaleidoscopes: Cat Rambo’s Near + Far

May 6th, 2013

Note: this is part of a series in which I discuss works of the contributors to The Other Half of the Sky.  Other entries in the series appear at the end of each discussion.

Cover, Near & Far

Cat Rambo’s recent collection, Near + Far (Hydra House, $16.95 print, $6.99 digital), is a tête-bêche book containing 2×12 stories of wildly different lengths that previously appeared in such venues as Abyss and Apex, Clarkesworld, Clockwork Phoenix, Crossed Genres, Daily SF and Lightspeed.

Before I discuss the stories themselves, I’ll mention two secondary but important aspects of the book.  One is the attention paid to the presentation; as one example, the text ornaments are almost distracting in their beauty.  The other is that each story has an afterword in which Rambo gives its backstory and worldpath.  Personally, I greatly enjoy such fore/afterwords (I still fondly recall Harlan Ellison’s needle-sharp, needling introductions) and find that they invariably deepen my understanding and appreciation of the tale – provided that the writer knows their craft.  Which brings us to the content of the collection.

Cat Rambo is a chameleon – a type of writer as rare as a Hollywood actor who can submerge themselves into a character.  Rambo’s range is galaxy-wide: she goes from near-future quasi-dystopia to far-future space opera, from slapstick humor to Eurypidean tragedy, with deceptively effortless prose, like a prima ballerina executing grandes jetés.  She also has a flair for the telling snippet that brings a person or setting to sharp, vivid life, like the pass of a lighthouse beacon.

The Near and Far halves hew to their titles: the former keeps close to home in spacetime, the latter ventures further afield.  Yet common kernels underlie these thematically and stylistically far-flung worlds: the complexity of relationships (the frictions of long-term pairings in particular) and, obversely, the urgent desire for connection even at a steep cost.  Everything is scaled to personal dimensions, even in the space operas.  There’s a noticeable transhumanist overlay to the cycle (AIs of various sentience levels and nanobiotech-based modifications are ubiquitous), though it never devolves to the tiresome paradise/hell binary.  Instead, Rambo focuses on the dilemmas of autonomy, privacy and community.  She also eschews neat resolutions.  Most of the stories end ambiguously or remain open-ended; many are bleak, though in a pragmatic, low-key way that makes them poignant.

Several of the stories in Near are about failing connections.  “Peaches of Immortality” is a downbeat version of Groundhog Day that renews the frisson associated with high school cliques.  “Close Your Eyes” and “Not Waving but Drowning” are unflinching examinations of issues that corrode relationships: the friction between a sister taking care of her dying brother in the former, the unraveling of trust that results from excessive transparency in a marriage in the latter.  “Therapy Buddha” and “Long Enough and Just So Long” are investigations into consciousness: the first illustrates the placebo effects of an ELIZA-type program; the second is Tanith Lee’s Silver Metal Lover shorn of its romantic trappings.  “RealFur” is a story of suffocation on several levels whereas “Vocobox™” is about the loneliness of togetherness when the fit is bad.

My favorite stories in Near show harsh worlds where loyalty and companionship are nevertheless possible and make a difference.  “The Mermaids Singing Each to Each” is a retelling of The Old Man and the Sea in a universe where gender fluidity is easy – and an AI can earn forgiveness for a betrayal.  “Memories of Moments, Bright as Falling Stars” is what Strange Days could have been if Kathryn Bigelow had not pulled her punches about the repercussions of brain enhancements in a pyramidal-privilege society.  “Legends of the Gone” portrays the world going out not with a bang, but with a whimper… yet its subdued notes are oddly consoling, perhaps because dying humanity has remained humane.

Heading for the antipodes, some of the Far stories are actually between Near and Far.  Taking off from Near, “Zeppelin Follies” and “Surrogates” contemplate futures in which humans interact with the world through filtering devices.  Landing at Far,A Querulous Flute of Bone” and “Five Ways to Fall in Love on Planet Porcelain” explore desire in unique settings that are nevertheless reflections of our internal landscapes.

Far showcases Rambo’s prowess at creating intriguing, thought-provoking worlds and aliens.  Several stories in Far delve into the longing to belong and also explore other senses beyond the dominant human one of vision.  At the humorous end, “Kalakkak’s Cousins” is Deep Space 9 via Lucky Luke’s bumbling Dalton brothers.  In the still-hopeful middle are “Seeking Nothing” and “Angry Rose’s Lament” whose misfit protagonists voluntarily choose submersion into group minds to allay loneliness.  At the sorrowful end, “Amid the Words of War” shows a doomed alien outcast with surprisingly universal needs.  Aliens of a different kind are depicted in “Timesnip” in which a time-transported suffragette catalyzes a revolution (actually, a restoration) in a planetfall society that has turned the Oedipal configuration into a requirement for male adulthood.

Far closes with “Bus Ride to Mars”, a slipstream version of the Canterbury Tales.  However, the piece in Far that plucked a strong resonating chord in my mind was its opening: “Futures” is a flash story that encompasses all the universes in the anthology – plus many more.  With its limpid, lapidary glimpsed views through doors held ajar, it’s the most evocative piece in the collection, the one that induces the yearning triggered only by the highest quality SF.

I’ve kept the descriptions of the stories in Near + Far deliberately brief and vague; they’re far more complex and intricate that these soundbites indicate.  It’s my fond hope that the crumbs I dropped have made everyone hungry enough to devour the entire collection.  It’s a generous, savory meal that rewards the discerning palate.

In the same series:
The Hard Underbelly of the Future: Sue Lange’s Uncategorized

Planetfall in Nowa Fantastyka

May 2nd, 2013

NW coverSome may recall that, back in January, the reprint of “Planetfall” at the World SF site caught the eye of Nowa Fantastyka, a prominent, long-lived Polish SF/F magazine. They asked me if they could publish the story in Polish.

I asked fiction editor Marcin Zwierzchowski if it was all right for my friend Aneta Bronowska to vet the translation, since my Polish is non-existent. Aneta combines three attributes that made her ideal for this task: she was born in Poland and has lived there all her life; she has exquisite antennae; and she’s intimately familiar with the Spider Silk universe. I knew the translation was good when Aneta said it made her cry, like its English original.

The Nowa Fantastyka issue with my story just appeared: here’s a link to a promotional copy of the magazine that shows selected pages. This is the second translation of my work — To Seek Out New Life came out in Japanese — but the first one of my fiction. The promotional file does not show that the story bears an illustration that Aneta was kind enough to scan and send me. It’s a lovely, otherworldly rendition that encapsulates nearly all the elements in the story – except for the amulet/command module that traverses each portion of the story like a falling star.

Planetfall NF W

My thanks to Lavie Tidhar, Sarah Newton, Marcin Zwierzchowski and Aneta Bronowska, who made this possible.

My Fictional To-Do List

April 24th, 2013

Whistling Wind

A while ago I saw this question: “What’s on your fictional To Do list?” Here’s a partial list of what I’d pursue if I had a semi-infinite lifespan and equivalent resources. The list doesn’t include real-life wishes, like learning a dozen languages and to play the bagpipes or refurbishing my advanced physics knowledge and small airplane pilot skills.

1. Become the astrogator of the first ship to Alpha Centauri;
2. Decipher the Minoan language and its script, Linear A;
3. Comprehend and translate cetacean songs;
4. Engineer biological nanobots that we can truly trust;
5. Identify the woman who wrote The Song of Songs.

Those of you who have read my fiction (whose published portion is the tip of the iceberg) know that in fact I pursue this list in it. In Planetfall we catch brief glimpses of how starship Reckless arrived at Koredhán (Glorious Maiden) under the leadership of Captain Semíra Ouranákis (Skystrider), how the travelers modified themselves genetically to fit the planet and how this choice eventually made them able to communicate with the mershadows, the native aquatic sentients.

What few have seen is the driven, haunted, blade-sharp loner who started the work that resulted in the genmods of the Koredháni, launched the Reckless, and decreed that Minoan (deciphered by her family, who are also part of this large universe) would be the ship’s lingua franca.

So here’s a tiny bribe: to those who read The Other Half of the Sky I will send Under Siege, a short screenplay that features the first captain of the Reckless. As proof, email me (helivoy@gmail.com) one of the unabbreviated names of the protagonist in Christine Lucas’s story. The screenplay file contains another reward layer: a link to my earliest published stories. Of course, reading the anthology should be its own reward… but consider this a coda, given the parameters I specified for the collection.

To whet appetites, here’s a passage from Under Siege:

CHRIS
Let’s try it on Loki.
(A few beats later)
It works!  I can’t believe he used a single encryption system.

JONATHAN
(skimming the file, aghast)
I can’t believe what I’m reading either. Somehow they attached thruster engines to the space station without anyone noticing. Armed it with nukes, too!

CHRIS
Subtle. Anyone adopts an agenda the Agency disagrees with, death rains from the skies. Or a solar flare hits the station’s gyrostabilizers, same result.

JONATHAN
They also sequestered all the first and second generation biological nanotech reagents up there.

CHRIS
(softly)
Ah. That might explain why I suddenly couldn’t renew any of my grants.

JONATHAN
You were involved in nanotech research?

CHRIS
Involved? I was the first one to use biobots to successfully regenerate brain neurons. Turns out they also augment brain function… not something the brass was happy with.
(Jonathan looks at her, stunned for once. She smiles tiredly, points at her head)
What did you think this was for, decoration?

[soundcloud params=”auto_play=false&show_comments=false”]http://soundcloud.com/helivoy/badelt-eloi/[/soundcloud]

Music: The Time Machine, Eloi by Klaus Badelt

The Other Half of the Sky: Liftoff!

April 23rd, 2013

other half  web

Today is the day!  Spread the word, our anthology is spreading its wings. Relevant sites:

Candlemark & Gleam direct sales
Reviews, interviews
Goodreads

The book, both print and digital, is available on all major online venues (Amazon, B&N, etc) but our publisher combines the print version with a DRM-free bundle. More direct sales also make it likelier that we’ll break even.

Library Journal called The Other Half of the Sky “fearless writing… exciting storytelling”. I’m already dreaming a successor to it — an SF story collection with women scientists and engineers as protagonists. I even have a provisional title for it!

“…for my purpose holds
To sail beyond the sunset, and the baths
Of all the western stars, until I die.”

[soundcloud params=”auto_play=false&show_comments=false”]http://soundcloud.com/helivoy/keating-lost/[/soundcloud]

The Other Half of the Sky cover: Eleni Tsami
Music: Start of Zoë Keating’s “Lost” from Into the Trees

The Other Half of the Sky: Launch Approaches

April 10th, 2013

other half  webThe Other Half of the Sky lifts off on April 23. Inadvertently and serendipitously, that coincides with my dad’s nameday in the Greek Orthodox calendar (Ghiórghos – George). He considers it a good omen, and I concur.

In the meantime, reviews and interviews are starting to appear. The one by writer and editor Victoria Hooper is truly perceptive. Those who read my interview with Vicky may recognize/discover interesting names in my recommendations of SF by women authors. I’m compiling the reviews and interviews on a dedicated page (see blog sidebar) and Kate Sullivan, our intrepid publisher, is doing the same at the site she created for the collection, with excerpts as a bonus.

So mark your calendars and keep an eye for a comet in the sky!

Interview with a Saber Tooth Tiger

April 2nd, 2013

Note: this article first appeared as a guest blog post in Scientific American.

Lions, Chauvet
Cave lion(esse)s, Aurignacian era, Chauvet cave, France

From our science correspondent AA.

AA: We’re in a cave at an undisclosed location on the Himalayas, interviewing Ms. Lilypad, a saber tooth tiger. Ms. Lilypad, what made you agree to this interview after your species has lived incognito for literally millennia?

LP: I got tired listening to the TED goombahs going on and on about de-extinction. So I decided to write my memoirs. Why should everyone get rich and famous but us?

AA: Were you able to find agent representation?

LP: (Extends a claw towards an avalanche of printouts). They’re falling all over themselves, but most are suggesting chewtoys as royalties. What do they take us for, wolves?

AA: Everyone thought you’d gone extinct. How did you manage to survive?

LP: We had to leave yaks alone, couldn’t afford to arouse suspicions. We scraped along by carefully harvesting yetis — and the occasional climbing expedition when things got really lean. Though humans are more trouble than they’re worth, with all that extra stuff to remove. Do you know how bad GoreTex tastes? Plus it wreaks havoc with our digestion.

AA: How did you manage to escape detection, especially after the advent of sophisticated surveillance technologies?

LP: Whenever we crossed in front of one of those silly hidden cameras, we clapped a paw over our fangs. The National Geographic doofuses thought we were Siberian tigers (snickers and grooms her whiskers).

AA: Are the others in your group on board with breaking cover after all this time?

LP: Most are. The warmup made the yeti population plummet. Also made them tougher to chew. We’re all looking forward to real food, like mammoth steaks (starts opening a jar of horseradish sauce).

AA: But if you eat mammoths, you’ll drive them back into extinction!

LP: Do you want to have an unregulated mammoth population explosion? If we don’t do our part, they’ll trample everything into mud! (Sniffs the horseradish sauce, wrinkles her nose). Besides, you’re a fine one to talk. Rapacious bipeds.

AA: Point taken. Where would you prefer to live, given a choice?

LP: The Siberian cousins tell us things look pretty grim up there. Similar reports from the Polar Bear Bureau on Greenland and Nunavut. Antarctica has a good food supply, though the habitat… We considered zoos but the photos look awful. I mean, aluminum bathtubs? Circuses are better – at least you get to do something. So we got proactive, put together a proposal for cleanup services. Sent it to big-city mayors.

AA: What was the response?

LP: Guarded. On the other hand, we got eager queries from cartels and military leaders.

AA: How much territory would you require?

LP: Something the size of Rhode Island. (Pause). Per tiger.

AA: Would you consent to being part of scientific investigations? Experimentations?

LP: We’re flexible. But after watching a few episodes of Nova, we’re really wary. Some things are off the list for sure. Ixnay to tranquilizer darts and forced mating. (Eyes correspondent’s arm) Mind if I test the horseradish sauce on you?

AA: Bad idea.

LP: Ok. (Grumbles under her breath).

AA: What do you think of the transhumanists’ ideas about uplift?

LP: We saber tooth tigers are already as uplifted as we want and need to be.

AA: What about their concept of turning predators into loving vegetarians?

LP: Send them over, we can discuss this face to face (starts opening a jar of wasabi). Send over the guys who think that tiger parts cure impotence, while you’re at it.

AA: Speaking of that, have you had cubs of your own?

LP: A few. Hard to find nice males with a decent genetic pedigree. Plus they try to expand into your territory afterwards, as if one mating gives them lifelong rights (growls). Also hard to teach the cubs good hunting habits, with all the skulking and hiding we’ve had to do.

AA: Are you looking forward to becoming part of the world?

LP: We do the live-and-let-live thing, everyone’s happy.

AA: By the way, isn’t Lilypad an odd name for a top-of-the-chain predator?

Pad 2SLP: My mom named me after the tiger in Elizabeth Marshall Thomas’ Animal Wife, whose pawprints looked like water lily leaves. (Purrs). She read a lot – winters here are long!

On the right: Lilypad stealthily concealing her giveaway fangs (photo: Peter Cassidy, staff photographer).

Related: Interview with a Yeti

Superficial Darkness and Luminous Ink

March 29th, 2013

InkThere has been a resurgence of arguments over grimdark fantasy, sparked by Joe Abercrombie’s recent second salvo after his earlier pas-de-deux with Leo Grin. This time around, Abercrombie equated “realism” (as in: non-stop pillage and teen-level gothness… or is it kvothness?) with “honesty” while arguing with a semi-straight face that he, unlike those who dislike gratuitous grottiness, was not making moral judgments.

Last time around, I was the sole non-anglomale to enter this fray. This time, several women responded (links below). All raised important issues (the exclusive focus on rape of women; the determined distortion/impoverishment of real history; the fact that several items are subsumed under “grittiness”), though Elizabeth Bear’s defense of (revisionist) grimdark bears this immortal phrase: “…sociopathic monsters can and do accomplish good – sometimes purposefully, sometimes not.” In other words, a soldier who participated in flattening a village is a force for good because he let one of the village children survive.

Having said my piece on grittygrotty fantasy, I don’t deem the subgenre interesting enough for additional investment. However, during these discussions journalist and author Sabrina Vourvoulias wondered if Ink, her debut novel, is classifiable as grimdark because it contains some of the items that are de rigueur in that domain: betrayal by friends; death of beloved and/or central characters; violence and violations; grim settings and unhappy endings. I had long intended to write a review of Ink, so I considered this my opportunity.

My verdict: Ink is not grimdark if only because it’s not the standard-issue SFF watery gruel. It’s also not grimdark because: it spends as much time showing beauty, heroism and honor as squalor, betrayal and violence; its violence (except in one instance) is neither gratuitous nor meant to titillate; it shows imperfect but functioning individuals, families and communities, not the baboon troops standard in grimdark; it doesn’t fridge its women (instead, it hews to the more traditional mode of “men die, women endure”); it shows mutual desire and consensual sex with neither prudery nor prurience; it’s layered and nuanced; and it’s politically engaged and grounded in reality while also containing doors ajar to other worlds.

Some reviewers compared Ink to Margaret Atwood’s The Handmaid’s Tale, because both show near-future US societies based on plausible extrapolations. But whereas The Handmaid’s Tale is straight dystopia, Ink is more than that. Ink is a nagual, like one of its protagonists: a twinned being, a shapeshifter – something common in non-Anglo literature that has left its genre boundaries porous instead of having them patrolled by purity squads. Ink combines mythic, epic, dystopian, urban and paranormal fantasy – it’s a direct descendant of the better-known Hispanophone magic realists. Its closest contemporary relatives are Evghenía Fakínou’s luminous works, famous in Hellás but unknown to Anglophone readers.

Ink describes a very near-future US in which the distinction between full citizens and the rest has become absolute and is enforced by biometric tattoos that specify status. Those who are not full citizens are subject to the customary abuses: curfews, job and housing discrimination, deportations, concentration camps, child abductions, involuntary sterilizations, vigilante violence. The story, spread over a decade, chronicles the reactions to this setting in both the real and magical realms.

The real echoes are multiple: there have been many near-silent holocausts in Latin America during caudillo regimes; biometric identification and surveillance methods are already with us; the treatment of “aliens” has been an endemic festering wound in many polities, the US prominently among them; tattoos and concentration camps have been used throughout history to isolate “others”; and “others” are routinely dehumanized across times and cultures – usually as a means of retaining power (for the strong), borderline privileges and self-esteem (for the weak), as well as an easy method for retaining social homogeneity.

Jaguar nagualThe magical echoes are subtler but just as layered: the naguales come from age-old shamanistic practices in Mesoamerica; the belief in magic linked to a specific location is ancient and universal; so are the concepts of shadow doubles and wereanimals, both good and evil. There are liaisons between the two realms – not only the half-dozen primary and secondary characters with second sight and/or twinned selves, but also the kaibiles, who appear as fearsome adversaries in dreamtime within Ink but in realtime were the infamous Guatemalan counter-insurgency special forces.

There are no “alpha” heroes in Ink; those of its characters who achieve heroic status do so without fanfare by simply being decent and taking risks despite fear and consequences – and while embedded in complex networks of blood and chosen relatives (the sole glaring absence is that of old women). The characters are economically but sharply delineated and their intertwinings are natural and believable. Where Ink approaches quotidian is in the choices of its protagonists’ occupations: Finn, a journalist; Mari, a liaison/translator; Del, a painter; Abbie, a computer wunderkind.

Ink also stumbles slightly by giving its two women protagonists remarkably similar fates. Both get violated – Mari by a decent-appearing vigilante, Abbie by a once-dear friend. The latter is the only point where Ink is in danger of entering generic grimdark territory: not only is Abbie’s sadistic scarring not really necessary to the plot, but it’s also totally out of character for the person who inflicted it. Also, both women have to carry on after the loss of the loves of their lives, with children as their main consolation prize (though they also reclaim other vital pieces of themselves that make them more than just custodians of the future).

Two secondary characters cast enormous shadows in Ink and almost walk away with the novel – I for one would happily read tomes centered on each: Toño, a gang leader with the charisma and code of honor that often goes with such positions; and Meche, who walks between worlds like Mari – and is also a formidable chemist, the inventor of synthetic skin that can give passage to legitimacy. [Note to self: the successor to The Other Half of the Sky will focus on women scientists; tap Sabrina for a Meche story.]

Stylistically, Ink commits all the “errors” excoriated in HackSFFWorkshop 101, though (repeat after me) they’re common in literary fiction and I personally love them: its four protagonists speak in first person and often in present tense; it makes unapologetic jumps in narrative time; it has an enormous cast of characters, without obvious telegraphings of who’s important and who isn’t; and its chapters have titles instead of numbers.

The language in Ink clearly comes from someone who is a fluent speaker of more than one tongue: it has the giveaway shimmer of submerged harmonies, of unexpected, felicitous word couplings. Ink also has snappy dialogue and vivid descriptions. Some exchanges made me laugh out loud or weep a little, and the erotic passages pack real heat. The peripheral characters are sharply drawn and distinct, and the Latinos are not generic. They’re Mexicans, Cubans, Guatemalans, with their unique histories, customs, dialects and magicks.

Some reviewers complained that the paranormal element in Ink was intrusive or not well integrated. I’d argue that the real problem is that Ink should be much longer than it is. Although it’s a saga of sorts, it has a strobe-light staccato effect that fits its current lean frame. But unlike just about any other SFF book I’ve read recently (nearly all infected with the dreaded sequelitis virus), the issues and characters in Ink – as well as its author’s talent for weaving richly-hued tapestries – cry out for a Márquez-size door stopper.

Sabrina-VourvouliasIf Ink had been written in any language but English, it would have become a bestseller with reviews in the equivalent of the NY Times. For Anglophones, Ink is an uncategorizable hybrid. These terms are invariably used to signify that a book is doomed because it doesn’t aim for an automatically defined readership. I, however, a walker between worlds myself, use the terms as rare praise.

Images: 1st, Ink (publisher: Crossed Genres); 2nd, a jaguar nagual (sketch from a Zapotec stela by Javier Urcid); 3rd, Sabrina Vourvoulias

Links to recent discussions of grittygrotty fantasy:

Foz Meadows
Sophia McDougall
Liz Bourke
Marie Brennan
Elizabeth Bear

The “Language” Gene and Women’s Wagging Tongues

February 25th, 2013

 Aka, How to Twist Science to Reinforce Gender Stereotypes

Note: this article first appeared as a guest blog post in Scientific American. Not surprisingly, some were dissatisfied: primarily, those who still like to think that genes determine higher-order behavior and that “gender” differences are hardwired and extensive. Excerpt of an interminable pseudo-learned comment at the SciAm blog: “In fact, it can be argued that the differences between genders is far more distinct and pervasive than the differences between species.”  Satoshi Kanazawa, is that you?

FOXP2 on DNA

Stylized rendering of FOXP2 attached to DNA (Wikipedia, CCL)

Genes are subject to multiple layers of regulation.  An early regulatory point is transcription.  During this process, regulatory proteins bind to DNA regions (promoters and enhancers) that direct gene expression.  These DNA/protein complexes attract the transcription apparatus, which docks next to the complex and proceeds linearly downstream, producing the heteronuclear (hn) RNA that is encoded by the gene linked to the promoter.  The hnRNA is then spliced and either becomes structural/regulatory RNA or is translated into protein.

Transcription factors are members of large clans that arose from ancestral genes that went through successive duplications and then diverged to fit specific niches.  One such family of about fifty members is called FOX.  Their DNA binding portion is shaped like a butterfly, which has given this particular motif the monikers of forkhead box or winged helix.  The activities of the FOX proteins extend widely in time and region.  One of the FOX family members is FOXP2, as notorious as Fox News – except for different reasons: FOXP2 has become entrenched in popular consciousness as “the language gene”.  As is the case with all such folklore, there is some truth in this; but as is the case with everything in biology, reality is far more complex.

FOXP2, the first gene found to “affect language” (more on this anon), was discovered in 2001 by several converging observations and techniques.  The clincher was a large family (code name KE), some of whose members had severe articulation and grammatical deficits with no accompanying sensory or cognitive impairment.  The inheritance is autosomal dominant: one copy of the mutated gene is sufficient to confer the trait.  When the researchers definitively identified the FOXP2 gene, they found that the version of FOXP2 carried by the KE affected members has a single point mutation that alters an invariant residue in its forkhead domain, thereby influencing the protein’s binding to its DNA targets.

Like all transcription factors, FOXP2 regulates many promoters.  The primary domains of FOXP2 influence are brain and lung development.  Some of its downstream targets are themselves regulators of brain function (most prominently neurexin CNTNAP2).  Not surprisingly, deleting or mutating both FOXP2 copies in mice results in early death, whereas doing so to one copy leads to decreased vocalization and slightly impaired motor learning.  FOXP2 is broadly conserved across vertebrates, but its critical functional regions have tiny but telling differences even between humans and their closest ape relatives.  Like other genes that influence human-specific attributes, human FOXP2 seems to have undergone positive selection during the broad intervals of crucial speciation events.  Along related lines, Neanderthals and Denisovans apparently had the same FOXP2 allele as contemporary humans, and by this criterion were fully capable of the articulation that makes language possible.

Which brings us to the nub of the issue.  What does FOXP2 do in brain?  Genes don’t encode higher-order functions, let alone behavior.  Also recall that the KE family members have a very circumscribed defect, despite its dramatic manifestation.  Finally, keep firmly in mind that language in humans includes a complex genetic component that involves many loci and just as many environmental interactions.  FOXP2 does not encode inherent language ability.  Instead, the time and place of its expression as well as studies in cell systems and other organisms (zebra finches, rodents) indicate that FOXP2 may be involved in neuronal plasticity, which in turn modulates capacity for learning by forming new synaptic connections.  FOXP2 may also be involved in regulation of motor neuron control in certain brain regions (cortical motor areas, cerebellum, striatum) that affect the ability to vocalize, sing and, in humans, form the complex sounds of language.

Given its connection, however over-interpreted, to “what makes a human” as well as its chromosomal location (in 7q31, which also harbors candidates for autism and dementia), it’s not surprising that FOXP2 has acquired quasi-mythic dimensions in the lay imagination.  However, careful studies have shown that the genes on 7q31 responsible for autism and dementia are distinct from FOXP2.  Also, as I said earlier, FOXP2 does not code for language ability – and even less for its culturally determined manifestations (many of which are a minefield of confirmation biases, unquestioned assumptions and simply sloppy work).

Gender WordsThe latest round in the misrepresentation of FOXP2 is the gone-viral variation of “there’s more of this ‘language protein’ in the left hemisphere of 4-year girls and that’s why women are three times as talkative as men”.  This came from the PR pitch of a research team who did a study primarily on rats (which confirmed the link between FOXP2 levels and vocalization) and then, perhaps attempting to latch onto a catchy soundbite, extended the gender link to humans based on… a single PCR amplification of ten Broca’s area cortices (from postmortem brains of 4-year olds, five from each sex; Broca’s area is involved in language processing).

To begin with, all studies conducted so far definitively show that women and men utter the same number of words by any metric chosen – and that in fact men talk more than women in mixed-gender conversations (to say nothing of the gender-linked ratio of interruptions).  And whereas it’s true that girls develop vocal competence slightly earlier than boys and show higher linguistic skills during the early acquisition window, this difference is transient.  Furthermore, the FOXP1 control that the authors of the study argue does not show a gender-correlated change (unlike FOXP2) in fact is on the verge of doing so, and the relative statistical significances might well change if a larger number of samples were tested.  Finally, whereas decrease of FOXP2 reduces vocalization and increases pitch in male rat pups, it has the opposite effect in female rat pups.  In other words, the correlation between FOXP2 levels and vocalization/pitch is not straightforward even in rats.

In the larger context of expression and reception of vocalizations, the difference is not how much women talk, but how welcome and/or valued their input is.  Even trivial zomboid blathering is given higher value if it’s culturally coded as masculine (examples: sport newscasters; most congressmen).  In fairness to the researchers of the study that caused all this rehashing of kneejerk stereotypes and evopsycho Tarzanism, here is the concluding paragraph of their paper.  It states something both measured and, frankly, obvious:

“Gender is a purely human construct consisting of both self and others’ perception of one’s sex and is arguably the first and most salient of all phenotypic variables. Sex differences in how language is received and processed and how speech is produced has the potential to influence gender both within and external to an individual. Whether human sex differences in FOXP2, and possibly FOXP1 as well, contribute to gender variation in language is a question for future research.”

Relevant publications and links:

Lai CS, Fisher SE, Hurst JA, Vargha-Khadem F, Monaco AP (2001).  A forkhead-domain gene is mutated in a severe speech and language disorder.  Nature 413(6855):519-23.

White SA, Fisher SE, Geschwind DH, Scharff C, Holy TE (2006).  Singing mice, songbirds, and more: models for FOXP2 function and dysfunction in human speech and language.  J. Neurosci. 26(41):10376-9.

Bowers JM, Perez-Pouchoulen M, Edwards NS, McCarthy MM (2013).  FOXP2 mediates sex differences in ultrasonic vocalization by rat pups and directs order of maternal retrieval.  J. Neurosci. 33(8):3276-83.

Mark Liberman.  Gabby Guys: The Effect size (Language Log, Sept. 23, 2006)

Mark Liberman.  An Invented Statistic Returns (Language Log, Feb. 22, 2013)

Athena Andreadis.  Eldorado Desperadoes: Of Mice and Men (Starship Reckless, July 18, 2009)

Athena Andreadis.  Miranda Wrongs: Reading Too Much into the Genome (Starship Reckless, June 10, 2011)

Sympathetic Magic

January 12th, 2013

SingerWe get attached to places and things. They define us as much as what’s inside our heads. We take handfuls of earth or tile fragments from our homes when we emigrate. We hold on to items of clothing that have become part of our bodies. We keep heirlooms, with their long stories of how they got made and handed down the generations. This knowledge is a major thread in the tapestry of civilization and in the definition of one’s self in a larger context. I had reason to think of this recently, when I lost something I loved.

As long as my memory remains intact, I will remember the stories associated with objects that I’m attached to, including my artwork and jewelry: where, how and why I got a piece, who was with me at the time, the history behind each work. Like the time an artist wordlessly handed me a stunning mixed-media sculpture marked “Not for Sale” (and refused to take money for it until I grew forceful) because I uttered words that echoed her own deepest sense of the work.

The first year I became faculty, I attended a conference in San Diego. In a La Jolla gallery, I saw two lovely pieces of art that I felt were linked. One was a palm-sized wooden mask called Singer. The other was a gold/silver/copper brooch the size of my thumb joint, called Spirit of the Seaweed. I put one on my bedroom wall, the other on my favorite black coat. At night I sometimes fancied I could hear soft harmonizing.

The coat went around the world with me, got taken off countless times for airport security, got hung up in homes, restaurants and hotels. The two singers kept murmuring in my dreams. And then, one evening this November, I looked at the lapel of my coat and found it empty.

I knew it was hopeless, but I kept my eyes on the ground whenever I re-crossed a path. The loss left an aching spot in my ribcage. I didn’t mind if someone had found the brooch and was wearing it with as much pleasure as I had. My fear was that it had been swept up as trash and destroyed – or that it was even now lying abandoned somewhere. And I felt bereft, too, at the thought that Singer was now lonely.

SingersI decided to use sympathetic magic. After a search, I found a very different brooch, an antique Zuñi sunface made of silver, turquoise, coral, abalone and onyx. I put it on and willed someone to find mine, so that they would wear it as I wore this one, with its own long history and legacy of loving care.

Last week, I was leaving work late. I caught a twinkle at the corner of my vision that made my gaze veer to the cash register of a small food kiosk in the lobby, on which someone had placed two rubber action figures. One was a wizard, a biotech company mascot. I went up to it, peered closely. Pressed into his palm was my lost brooch.

I took it home and put it near the mask. I don’t believe in gods or demons. But I like to think that the Wizard summoned me and Spirit to the same place; that Singer joined forces with Sunface and sang its little companion home.

The Hugo Awards: Tweeter Expands My Horizons

January 10th, 2013

Hugo Deb KosibaThrough the recent spike in the volume of tweets, I became aware of two things: 1) there is a Hugo award category called “Best Fan Writer” and 2) according to the rules, I’ve been eligible for it since 2008. At least in principle, because the real universe is significantly different.

The Hugos are essentially a popularity contest, which means you need to self-promote relentlessly to get nominated (being connected to insiders and gatekeepers doesn’t hurt either). These days, this means that people with the loudest blogs and most adoring acolytes are the likeliest to show up on the ballots. The configuration has also resulted in the seasonal listing of qualifying works – a litany as interesting as “the best/worst X of last year”, “my new year’s resolutions” and “what I did during my summer vacation.”

“Fan Writer” seems to have been established as a sop to people whose lives revolve around SF/F cons and to writers in the genre who want extra nominations beyond fiction writing. And whereas the criteria for some categories are almost absurdly high (particularly the two for Best Editor), those for Best Fan Writer merely require writing about the genre in a non-professional venue that, per the Hugo site, “includes publications in semiprozines, and even on mailing lists, blogs, BBSs, and similar electronic fora”.

By my count, of the 50 awards in this category given so far, 20 have been won by David Langford and 7 by Richard Geis, both whiteAnglomen. More recently, however, runaway diversity became fashionable: since 2008, winners in this group continue to be whiteAnglo, but a mere 60% (three of the five) have been whiteAnglomen! And this year there has been a spate of suggestions for nominations of non-whiteAnglomen (in several permutations), after which we will undoubtedly return to our regular programming.

In this climate of wild radicalism, my name finally came up: as a footnote in the relevant entry of the World SF blog by Lavie Tidhar; and more prominently in the livejournal of Nick Mamatas (thanks, guys!).  Given my habits, I will not list the blog posts that qualify for the Hugo. Those who read my blog saw these articles when they appeared. Those who don’t will not rush to read them. I do realize that being a practicing scientist and a voracious reader beyond the SF/F enclosure handicap me considerably: I was recently chastised for “not reading the classics” by someone whose concept of “classics” is AsimovClarkeHeinlein; someone else objected to my using (avaunt!) scientific terms in an article about “hard” SF.

In the extremely unlikely event that I should win, I may do something extravagant to celebrate. Maybe I’ll publish a passage of “positively portrayed” sex (yet another topic of recent conversations in SF/F) to give people a glimpse of what lovemaking in a polyandrous society of telepaths might be like. Since my view is that such descriptions need to use precise terms if they’re to be potent, don’t expect to see manual-reeking couch-fainting terms like “sensual”, “reponse”, “aftermath” and their ilk. But do expect to see focus on the woman’s pleasure.

Image: the 2012 Hugo trophy, designed by Deb Kosiba.

Damp Squibs: Non-News in Space Exploration

January 5th, 2013

LaLaLa

Biologists interested in space exploration are consistently delegated to the back of the stellar tour bus, if we’re allowed on at all. We’re Luddites who harsh everyone else’s squee, you see. We keep pointing out that radiation is not kind to living tissue, whether gametes or neurons; that uploading to silicon chassis is not possible as an alternative to carbon bodies; that human babies cannot be hatched and reared by robots at planetfall; that living on extrasolar planets poses huge problems and dilemmas even if they’re quasi-compatible. And that since FTL and warp drive are and will always remain science fiction, we need to at least tackle, if not solve, some of these issues before we launch crewed starships for long exploratory or migratory journeys. This year, there were two non-news items in the domain that brought these matters once again to the fore.

The earlier of the two was the disclosure that “NASA scientists might achieve warp drive” based on Alcubierre’s theoretical concept (by using a Jovian weight’s worth of exotic matter as likely to exist as stable wormholes). Beyond its terminally wobbly foundation, the concept also doesn’t take into account that such folding of space would destroy nearby star systems (and almost certainly also the starship) via distortion of the local spacetime and/or massive amounts of radiation. It’s also unclear how the starship could be steered from within the “negative energy” or “tachyonic matter” bubble. This means that even if fast space travel were possible using this method, it would still take lifetimes to safely reach a planet within a system because local travel would by necessity be at sublight speed.

More recently came the non-news that radiation causes… brain malfunction, as if the term “free radicals” and “radiation damage” were not in the biomedical vocabulary since before I entered the discipline in the mid-seventies (let alone the in-your-face evidence of the Hiroshima and Nagasaki holocausts or the Chernobyl meltdown). Radiation, especially the high-energy portion of the spectrum, breaks atomic bonds directly and indirectly by producing free radicals. Free radicals start chain reactions: lines of descendants, each of which can damage a biomolecule. Radiation causes mutations in the DNA, which is bad enough, but it can also result in other errors: protein misfolding, holes in cell membranes, neuron misfiring. And although cells have several repair mechanisms to counter these insults, they have evolved for the radiation burdens of earth.

All these effects at the molecular/cellular level converge into two large rivers: for dividing cells, cancer; for non-dividing cells (most prominently gametes and brain neurons), death. Kill enough cells, past the brain’s ability to rewire and reroute, and you get neurodegeneration: if the most affected region is the substantia nigra, Parkinson’s; if the cerebellum, ataxia; if the hippocampus and parts of the cortex, Alzheimer’s; if the frontal lobe, frontotemporal dementia; if the Schwann cells of the myelin sheath, multiple sclerosis. Incidentally, radiation also affects electronic devices – something to keep in mind for even short interstellar journeys.

Stating-the-obvious-7

On earth, we are subject to a good deal of radiation from natural causes (radon, solar flares) as well as human-made ones (industrial, occupational, medical, airport X-ray machines). Cosmic radiation constitutes about 5-10% of our total exposure. That will be very different in space, where bombardment by galactic cosmic rays will be both chronic and acute. And whereas cosmic radiation on earth is moderated by the solar wind, the earth’s magnetic field and the layers of atmosphere, none of these protections will be present on a starship. Shielding options are inadequate or, like warp drive, sheer fantasy – which makes this risk one of the major showstoppers to star travel. The best candidate is the most low-tech: water.

Scientific papers that discuss these outcomes, from both inside and outside NASA, have been around since at least the early nineties. So what exactly is new in this study that is making the customary rounds in various space enthusiast sites and blogs? In a word, nothing. In fact it’s a bits-and-pieces study that reaches miniscule, non-surprising conclusions. The adage “labored as if for an elephant and brought forth a mouse” is particularly apt here. As for the originality of its discoveries/conclusions, it’s like hitting someone’s head repeatedly against a cement wall and concluding that such blows eventually cause, um, skull fractures.

At the same time, the authors of the study decided to gild their tinfoil lilies. They used a double transgenic mouse strain engineered to develop amyloid plaques of the Alzheimer’s-associated variety. Despite this loading of the dice, they saw changes in plaque size and numbers and in amyloid processing only in the male irradiated mice. Even the small shifts they saw are far less important than laypeople think: for a while now, the consensus in the field is that plaques may be neutral warehouses. In particular, plaques seem to be a sidebar for sporadic Alzheimer’s which is 90-95% of the disease cases. Many people have heavy amyloid plaque loads with zero cognitive impairment. As is often the case with mice studies, they subjected them to overwhelming amounts of the perturbing parameter (in this case, iron nuclei) that nevertheless represents a simplified subset of what they’d encounter in a real journey. Finally, they saw neither inflammatory microglial activation nor changes in amyloid clearance. They did see changes in a couple of behavioral tests, although in most of them the error bars overlap, which means “not statistically significant”.

The obvious experiment that might give remotely useful results would be to do such studies with a mouse strain that is not merely wild-type but aggressively outbred. However, that would still be superfluous, even if we set aside the limited usefulness of mouse models for human brain function. We already know what would happen during long interstellar journeys, and more or less why. I propose that we use the time and funds spent on irradiating guaranteed-to-develop-disease mice to develop effective, and preferably low-key, shielding. Radical-clearing drugs are also an option, although the favorite defaults bristle with their own host of problems (teratogenicity for retinoids, tumorigenesis for mitochondrial boosting). Like most complex problems, there are no silver bullets to counteract the iron-nuclei ones of galactic radiation. It will have to be done the hard, slow way – or not at all.

harsh-my-mellow

Relevant papers:

H White (2012). Warp Field Mechanics 101.

JD Cherry, B Liu, JL Frost, CA Lemere, JP Williams, JA Olschowka, MK O’Banion (2012). Galactic Cosmic Radiation Leads to Cognitive Impairment and Increased A? Plaque Accumulation in a Mouse Model of Alzheimer’s Disease. PLoS One 7(12):e53275

A Micro-Triplet to Usher in 2013

January 4th, 2013

catsaxTo increase my already wild popularity, I penned two bookend articles that gore sacred oxen. A contribution to a Mind Meld at SF Signal about “Books we were told we’d love but didn’t” appeared two days ago. “Invisible Ink”, a response to Mike Brotherton’s olden mouldies (aka whiteanglomen) “hard” SF list, just appeared in SFWA.

Also, the republication of “Planetfall” at the World SF site caught the eye of Nowa Fantastyka, a prominent, long-lived Polish SF/F magazine. They want to republish the story in Polish. This would be the second translation of my work — To Seek Out New Life came out in Japanese — but the first one of my fiction.

Hagiography in the SFX Age: Jackson’s Hobbit

December 28th, 2012

Note: for a larger context of this discussion, interested readers may want to look at A Plague on Both Your Houses.

Arwen Ford

I did not write a review of Jackson’s Lord of the Rings (henceforth LotR) trilogy. One reason was my extreme ambivalence over Tolkien and his oeuvre. Another was that the potential for LotR to be a cinematic disaster was so great that anything short of a shambles would do. In fairness, the film version of LotR was a great achievement within its context. It says much that a Kiwi schlockmeister gave us a far better work than any Hollywood director ever could.

I was introduced to Tolkien in high school by one of my exchange US teachers. He intoned solemnly (and with zero sense of irony, given the cultural background of his students) that here be immortal myths. In fact, most of Silmarillion and LotR are rechurned mythic/folktale tropes coupled to something remarkably close to the “Aryan paganism” promoted by the German national socialists with an uneasy overlay of Manichean catholicism. The Nordic components are most prominent in the myth salad (Húrin’s Children is Sieglinde and Siegmund without even the serial numbers filed off), per Tolkien’s wish to create a Saxon mythology free of Frenchified corruption; and the works literally swarm with Miltonesque angels and demons, Lucifers and Messiahs, falls and redemptions, smitings and apocalypses (sorry, “eucatastrophes”).

Tolkien may have disliked Nazism on record, but his work says otherwise. It is telling that in his universe dark skin and lack of mainstream beauty equal moral depravity (them honorless swarthy Southrons!) and “blood purity” is the sole criterion for legitimacy of rule: Denethor can never become king, no matter how capable he is, because he comes from a line of “lesser men”. Propagation also looks fraught, given that none of Tolkien’s races seem to have more than about one woman – and they’re all pedestalized, fridged or both, with rape the most frequent cause of death (an odd obsession for an otherwise ultra-prudish permanent-Victorian-by-choice).

The less said of Tolkien’s style, plot, pacing, characterization and dialogue the better, so I won’t analyze these aspects except to say that he sounds unstrained only when he describes environments close to what he inhabited in real life: a place where everyone knew and kept their place, industrialization hadn’t reared its ugly head, country squires led guilt-free lives secure in their righteousness, and gentlemen of privilege and leisure spent their time discussing lofty matters and puffing pipes in comfortable Oxbridge rooms, their every need attended by angels in the house and servants. In short, the Shire.

Despite its eye-gauging problems, Tolkien’s work launched a thousand careers of both dutiful and rebellious acolytes to the everlasting detriment of epic fantasy (respective examples: Guy Gavriel Kay and Joe Abercrombie). The most common defense of Tolkien (beyond “he is the bestestest and your limited unsophisticated mind cannot encompass his greatness”) is that “he was of his time” – and a don in an ivory tower besides, plus a survivor of WWI. However, here are a few of his broad contemporaries, and I’m restricting myself solely to Britain: Wells, Orwell, Woolf (who was ten years older than Tolkien). In 1938 Virginia Woolf wrote her incandescent criticism of fascism, Three Guineas, some sixty years before “intersectional” became the fashion du jour for internet social justice warriors. In 1936 Tolkien wrote… The Hobbit. Tolkien’s true soulmates are the pre-Raphaelites, who consciously withdrew into an idealized past that confirmed their bedrock conservative values. I find Waterhouse and the late Rossetti very beautiful; but I cannot help but be aware that these were contemporaries of the Impressionists and early Cubists.

So when I heard that LotR was about to be filmed, I was wary – although some signs boded well: the director was not from Hollywood, though he was best known for splatterfests; and the film would not only be a trilogy (aka no Procrustean shoehorning to fit arbitrary length standards, like Ralph Bakshi’s pathetic attempt) but would also be filmed in New Zealand. Aotearoa is one of my Tír na nÓgs, and I had already seen enough of it in Mr. Snacho’s photos and in Xena to know that a movie filmed in that spectacular scenery could not be a total loss.

Aotearoa Kaso

But Jackson achieved far more than that. By integrating acting, scenery and sound, he managed to create a secondary world that felt almost real – real enough that you let yourself be carried in its current even if, like me, you don’t really like LotR. Despite the longueurs (especially the boys’ treehouse intervals), he managed to elicit the difficult chemistry of camaraderie among most of his principals. And perhaps influenced by his two women screenwriters and advisors, he also chose wisely what to include (Arwen’s vision of her fate; Éowyn’s dream of the fall of Númenor) and what to omit (Radagast and Bombardil, of which more anon), where to stick to canon and where to abandon it.

In my opinion, Jackson’s best departures from canon were the decision to have Arwen, rather than Glorfindel (who?), convey Frodo to Rivendell; and the appearance of the Elf army, dressed in its best finery like Hellenic freedom fighters, to aid the Rohanese at Helm’s Deep. The former made Arwen more than the passive prize Aragorn will reap if he succeeds; and the latter underlined the Elves’ love for Middle Earth and their investment in it – especially if, as some “Tolkien scholars” believe, Elves killed in battle forfeit eternal life in the West.

Jackson made some serious missteps as well. The portrayal of Galadriel kept veering towards evil queen bee and Arwen became another generic couch-fainting damsel as the trilogy progressed. The choice to depict tragic Denethor as a crazed coward needlessly added yet another single-note character to the ones already amply present in the original. And of course the jokes about Dwarf women and Éowyn’s cooking got old after the first second or so. Also, it was a pity that Jackson chickened out of showing Sauron incarnate in the last battle, especially if he had presented him as the beautiful tempter he once was and could still become. More disturbingly, Jackson hewed faithfully to Tolkien’s distinctions when casting: all his Orcs had cockney accents, all his Uruk-hai were Maori and all his Southrons were Indian, Iranian or otherwise olive-skinned.

But with all these caveats and more, the LotR trilogy aspired to Gesamtkunstwerk status and to a large extent attained it. That’s more readily visible in the director’s cuts that smooth over some rough patches (the worst being Aragorn’s nasty dismissal of Éowyn in the theater version; on the other hand, Jackson relaxed his grip on schlock control in the totally unnecessary skull-stomping scene). The films received their due: awards up the wazoo, billions in ticket receipts and merchandise, serious career boosts to the less famous participants (most notably Viggo Mortensen, a maverick journeyman who enjoys unconventional roles) and the funds and clout for Jackson to do his disastrous King Kong.

So it came as no surprise when it was duly announced that Jackson had decided to also film The Hobbit. What came as a surprise was that it was to be… a trilogy. The Hobbit is wee and twee, including Tolkien’s intrusive coy asides. No matter how you dress it up, it’s a childish children’s book: it’s not an expurgated fairytale, like the ones written for adults and later laundered for the supposedly delicate childish earshells (in fact kids are supremely bloodyminded and take folktale atrocities in stride). The Hobbit was bland and quotidian from the get-go, written by a Victorian for Victorian tastes and mores.

Making a trilogy out of that flat pillow requires a huge amount of straw. And apparently that’s what Jackson did. We now get Radagast in all his non-glory – borne on a chariot pulled by bunnies, no less. We get expositions and declamations and endless walking (through admittedly breathtaking landscapes). We get more of the crude humor that jarred and clunked so badly when Gimli had to be its vehicle in LotR. We get stormtrooper-type adversaries and battles that blur into sameness. We get Thorin as a quasi-Aragorn, robbing Bilbo of any reason for being included in the adventure. We get Galadriel posed as a mannequin in a shop window, to paper over the fact that there were exactly zero non-males in The Hobbit. And of course we get ecstatic fanboys (and not a few fangirls) who want moremoremore of the same, even if it’s gloppy corn syrup covered with red food dye instead of fresh strawberries.

It’s true that ever hoarier iterations are the essence of franchises: feeding the fans increasingly watered-down gruel while selling more lunchboxes. But Jackson, like Lucas, seems to also have succumbed to his sense of his own sacred mission. Whereas Lucas wanted to be a Jedi Master (an ambition most people outgrow by the emotional age of seven), Jackson apparently wanted to be the perfect Tolkien worshipper. It seems that people in such large-scale ventures have lost the capacity to discern when they have reached whatever peak is possible. For Star Wars, that point was The Empire Strikes Back. LotR did better – the entire trilogy stands as a seamless whole that invited people who knew nothing of Tolkien into Jackson’s enticing universe. In stark contrast, The Hobbit is for insiders, a members-only fan club; a creation that demands adoration not of its strengths but of its weaknesses, like a whiny godlet.

Three GuineasI was elated to watch LotR consistently exceed my (initially not very high) expectations. But after The Hobbit, I feel dread at the thought that Jackson may decide to embark on The Silmarillion next. Perhaps he should read the folktale of the fisherman’s wife. Or read what Marx said about repeating history: the first time, it’s tragedy; the second time, farce.

Images: 1st, Arwen’s stand against the Nazgûl; 2nd, a still from Nathan Kaso’s Aotearoa video; 3rd, Virginia Woolf, Three Guineas (original edition, cover by Vanessa Bell)

Discussions of other SF/F demigods:

We Must Love One Another or Die: A Critique of Star Wars

The Star Trek reboot

Cameron’s Avatar: Jar Jar Binks Meets Pocahontas

“As Weak as Women’s Magic” (Le Guin’s Earthsea cycle)

Fresh Breezes from Unexpected Quarters (The Dark Knight Rises)

Gender Essentialism? Elementary, My Dear Watson!

The Solstice after the Supposed End of Days

December 21st, 2012

Chichen Itza Orion sm

For aeons it took us sailing, we never sank,
a thousand times we changed captains.

We never paid account to cataclysms,
we went full ahead, through everything.

And on our mast as eternal lookout
we have the Great Chief, the Sun.

From “The Crazy Ship” by Odysséas Elytis

Image: Sunrise and Orion over the temple of Kukulkan; Chichén Itzá, Yucatán, Mexico (from the NASA APOD; credit and copyright: Stéphane Guisard and UNAM/INAH)