Electronic OtherRealms #27
                               Spring, 1990
                               Part 3 of 11

                     Copyright 1990 by Chuq Von Rospach
			    All Rights Reserved.

       OtherRealms may be distributed electronically only in the original
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    OtherRealms may be reproduced in printed form only for your personal use.

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  All rights to material published in OtherRealms hereby revert to the author.



                           From Beyond the Edge
                          Reviews by Our Readers

Being Alien	[***-]
Rebecca Ore

This is the sequel to last year's Becoming Alien, one of the better
first novels I've read. Being Alien continues the story of Tom, a
Virginia redneck (hey, that's how he describes himself) who becomes a
cadet in a multi-species space federation. The good news is, if you
liked the first book you'll probably like this one, too. The bad news
is, you may not like it quite as much. The strength of this book, like
its predecessor, is Ore's portrayal of a loose-knit confederation of
alien races that feels like it might really work. And Being Alien has
one of the same weaknesses as Becoming Alien: poor characterization of
the human characters. This is a more severe problem in Being Alien,
since half of the book is set on Earth and there are more human
characters. Also, this book somehow didn't have the same excitement as
the first one; maybe the novelty of the setting has worn off, or maybe
the intrigue in this book (lots of aliens spying on the Earth and other
planets) was overdone. Overall, Being Alien felt like the stereotypical
middle book of a trilogy, where the action sort of coasts rather than
building up to anything. Nothing particularly wrong with that
(particularly if the next book does complete a trilogy), but I was
hoping for something more.
	 -- Chuck Koelbel

Bio Of An Ogre
Piers Anthony
Ace, 1988, $4.50, 314pp, 0-441-06225-3

This is basically a book-long version of Piers Anthony's normal "Author
Notes". Like his Notes, I found the book enjoyable and interesting; I
did, however, have 3 main complaints. The first is that the book is very
negative. Mr. Anthony seems to have few happy stories to tell about his
life. Secondly, I think the book could stand better without the
Appendixes, they didn't seem to fit or make sense to me. Maybe if they
are read when they are mentioned in the text rather than at the end they
would fit better. (Also his bibliography stops at book 50 making it very
incomplete.) Finally, he tells his side of many conficts in his life. I
would have loved to have seen him take the extra step to let the other
person write a page or two giving their side. I always feel an injustice
is being done when only one side of a story is given. All-in-all, if you
like his "Author's Notes" you should like his autobiography. If you
don't like his notes, well you really don't need to know anything about
an author's life to enjoy his/her writing, so skip his facts and stick

	 -- Jim Winner

The Blind Geometer
The New Atlantis [***-]/[****]
Kim Stanley Robinson/Ursula K. LeGuin

This book is a Tor Double, which explains the two titles, authors, and
ratings. For those of you not familiar with Tor Doubles, they are
basically two independent short (about 100 pages each) novels glued
back-to-back. The two sides are upside down with respect to each other
so that the spine is on the correct side for both "books". Tor has been
using this format for some time now to publish fiction that is too short
to be an independent book and too long to fit comfortably in a
collection. Overall, I rate the series pretty high. My only real
complaint is that most of the Doubles are reprints rather than new work.
The fact that some material is old isn't a problem per se; it's just
that I keep finding Tor Doubles with one story that I've read and one
that I haven't.

Each of the Tor Doubles seems to have a theme linking the two stories.

This Tor Double has two novellas plus a "bonus" story by Robinson. The
main stories are linked by the theme of "scientific discovery," but the
short story is unconnected to the other two. "The Blind Geometer" is the
story of a blind mathematician who finds himself trapped in a web of
intrigue. My general opinion of Robinson (based on an admittedly small
sample) is that he writes excellent characters, average plots, and muffs
the science in his stories. This story didn't change my mind. The title
character is well drawn, the intrigue is gripping (if a bit standard),
and the mathematician gives an incorrect proof of an elementary theorem.
Normally, one missed detail doesn't ruin my appreciation of a story, but
in this case the proof was central to the characterization and plot.
Robinson's short story, "The Return from Rainbow Bridge," on the other
hand, was a big improvement. It is a wilderness survival short story
with relatively little SF content. The characters were believable and
the plot was well-designed. In this case, there weren't any major flubs
on details; everything rang true. The rating of [***-] is sort of an
average between the ratings for the two Robinson stories. "The New
Atlantis" is a story of scientific discovery in a functionally
illiterate society. The background seems to be that Madison Avenue has
taken over government completely, running everything by ads rather than
any sort of reason. (For example, the US Geological Service's response
to a series of major earthquakes is billboards saying "It's not our
fault!") As a satire of the marketing mentality, it's great. As a story
of scientific discovery, it is not quite as good, but still better than
average. To summarize, two out of three stories were good, but they were
the shortest two. ("The New Atlantis" and "The Return from Rainbow
Bridge" together take up barely half the book.)
	 -- Chuck Koelbel

The Boat of a Million Years
Poul Anderson
Tor Books, 1989, 0-312-93199-9, 470 pp., $19.95

A gentleman of the old school, Anderson has always delivered stories
both thoughtful and entertaining. While he and wife Karen have done
broad fantasy works in recent years, Boat returns his focus to science
fiction with an epic novel that merits attention beyond the SF
community.

In wide brushstrokes and minute detail, over almost four millennia of
past and future history, the novel examines a small number of truly
immortal human beings. Blessed and cursed with disease-free,
rapidly-healing lives which they little understand, ever condemned to
watch all they know and love wither and fade, these mutant sports wander
rootlessly through civilizations and centuries.

We first meet Hanno, a simple Phoenician sailor, in 310 B.C., as he
joins a voyage of discovery into the Atlantic. Next, Tu Shan, a Chinese
peasant made wise by his extended years, escapes his Emperor's
confinement during the 1st Century A.D. After long searching, Hanno
finally finds an immortal partner in Rufus, who he rescues from a
howling mob in 4th Century Gaul. A century later, Aliyat of Syria is
introduced, as she watches the power of the Prophet convert her culture
from Christianity to Islam. Names and lifestyles change, as these
survivors adapt to their nature.

In 11th Century Russia, Svoboda escapes rape thanks to Hanno and Rufus,
but when she shares Hanno's bed, she misses discovery of their common
secret by over 900 years. Later, when Hanno, desperate for an immortal
mate, does reveal his age to the whore in Constantinople who he knows to
be over 400, Aliyat betrays him. Meanwhile, Yukiko flees her lost status
as royal concubine in Kyoto, and after years as a Buddhist nun, she
joins Tu Shan in Nepal, where the two discover sadly that their children
lack their immortality.

By the end of the 20th Century, only eight Survivors remain, including
Wanderer, a Plains Indian, Corinne Macandal, a former American slave,
and Patulcius, the ultimate civil servant who prefers to remain in
Turkey, apart from the others. But the computer vastened (to use Fred
Pohl's term for solid-state personalities), fully nanotech Network
future, with its practical immortality for all and its conquered Solar
System, offers little for the remaining eight. They realize that only
the hint of distant aliens, the challenge of starship travel, offer
meaning to their long lives.

Those who may grumble at the pace, at the episodic pattern of this work,
are amply rewarded by the last 50 pages. Enough world building
creativity may be found as this tale ends to fill a dozen lesser SF
novels. Here, too, we find one possibility raised by Vernor Vinge's
"human singularity," and the true warning of Jack Williamson's classic,
"With Folded Hands." You must not miss this book.
	 -- Dean R. Lambe

The City, Not Long After [****-]
Pat Murphy

For once, a post-holocaust novel that doesn't involve macho men
rebuilding civilization from the ashes while fighting off the mean,
nasty communists/mutants/whatever. The book is set in San Francisco
sixteen years after a world-wide plague. Society has more or less
stabilized, at least in a few places. In San Francisco, that stability
comes from the artists taking over the downtown; other places have other
groups. Life is not terrible, but "idyllic" isn't exactly the word I'd
use, either. Then a self-proclaimed general decides to reunite the
United States, by force if necessary. Naturally, the artists decide to
oppose him using non-violent means, and the battle is joined. The best
parts of the book are the descriptions of a post-plague world, and
particularly San Francisco. While this may not be how things would
really happen, the setting felt right. Strong characterization all
around is also a highlight. Another interesting sidelight is the
argument among the artists over whether non-violence will win. Weak
points include the resolution of the conflict (no spoilers, but it's
pretty obvious who's going to win). I was also a bit put off by the
offhand mysticism that cropped up occasionally. Most of it was
explainable, but one important case was pure deus ex machina. Overall,
the book is a nice counterpoint to the usual "We have to reunite the
country after this catastrophe" story. Recommended, and highly
recommended if you live in or have visited San Francisco recently.
	 -- Chuck Koelbel

The Color of Neanderthal Eyes/And Strange at Ecbatan the Trees [***-] / [****]
James Tiptree, Jr./Michael Bishop

If there is a deep relationship between these stories, I can't find it.
The only connection I can see is lasers used as weapons, and that's a
pretty minor part of both stories. "The Color of Neanderthal Eyes" is
Tiptree's last novella, completed shortly before her death. I wish I
could say this was one of her best stories, but I can't. The plot
revolves around a spaceman taking a vacation on an unexplored planet who
becomes romantically involved with one of the inhabitants. This leads
him into defending her race in a genocidal war. Just in case it isn't
clear yet, this story is a tragedy. Unfortunately, the prose does not
have Tiptree's usual evocative beauty, and the plot is fairly
pedestrian. In short, an average story when I was hoping for much
better. The cover describes "And Strange at Ecbatan the Trees" as a
"classic novel," but somehow I'd never heard of it before. Nevertheless,
it is an excellent story. The plot involves a multitalented genius in an
essentially lifeless society. Although he only wants to produce plays
(in order to breathe some life into the people), he is forced to become
a general to repel an invasion. Themes of duty and the relation of
genius to society run through the novel. The strange atmosphere of the
setting is another highlight. Recommendation: buy the book for the
Bishop story.
	 -- Chuck Koelbel

The Cuckoo's Egg	[****+]
Clifford Stoll

Definitely not fiction, and little science (as opposed to technology),
but this book should appeal to many SF readers. It is the story of how
Cliff Stoll, in the course of tracking down a $.70 accounting
discrepancy on his computer, caught an international espionage ring. The
spies were a group of hackers using Stoll's computer (and others) to
break into a network of government computers. Pretty much everything is
here, from details of the computer break-ins to the effects on Stoll's
personal life. The technical explanations are accurate and
understandable to people who don't program for a living. The best part
of the book, however, is the author's breezy style as he describes the
chase. The reader really gets a feel for what it's like to suddenly find
oneself in over one's head in an investigation. The sidelights on trust,
security, and computer networks are a nice bonus. All in all, a great
book for anyone interested in computer networks, or for anyone who just
likes an exciting cops-and-robbers yarn.
	 -- Chuck Koelbel

The Divide
Robert Charles Wilson
Foundation; 0-385-26655-3; 249 pages; Jan. 1990; $9.95

This latest effort by Wilson, author of A Hidden Place and Gypsies,
concerns genetically enhanced humans; in effect, a variation of the
Jekyll & Hyde syndrome.

At a young age John Shaw was given a series of injections to promote
cortical growth with the hope of producing a genius. Becoming bored with
the mundane aspects of life, an older Shaw invents his alter-ego
Benjamin, who does all the routine chores that Shaw can't fulfil
including taking a lover, Amelie. The subsequent involvement between
Shaw and Amelie's brother, Roch provides the strongest ingredient in The
Divide as it shows that Roch is both animalistic and crazy in comparison
with superintelligent John Shaw.

The plot is very plausible and well researched. The final confrontation
between Shaw and Roch is superb but somewhat contrived, too sudden. The
characterizations also spoiled this otherwise entertaining novel. Except
for Roch, they were lifeless, just hanging around waving vaguely at you.
I will however eagerly await Wilson's next book, since he does have the
ability to produce marvelously innovative stories.
	 -- Richard Weilgosh

Empire's Horizon	[**]
John Brizzolara
DAW, 1989, 320pp, $3.95, 0-88677-365-2

Darkath is the most distant planet of the far-flung empire. The rivalry
of its native clans, the Dhirn and the Khaj, has been exploited by the
corrupt Terran military governor and the ambitious Church. However, an
unlikely alliance of Dhirn and Khaj factions is a growing threat to the
Terrans; mysterious aliens from Andromeda may have landed on the moon;
and offworld reporter Martin Cain, looking for a story, stumbles into
the midst of the confusion.

This book gets off to a rocky start: imagine Zorro and the grandchildren
of Dune meet Star Wars, as imagined by Leigh Brackett in an especially
fervid mood. The imagery is day-glo; local color is laid on with a
trowel; purple similes abound; the author coins the curious adjective
"violescent". It's all so ludicrously garish as to be amusing, though
probably not by intent. Eventually the book settles down to merely vivid
pulp space opera, at which modest goal it succeeds modestly. Doctor
Zarkov, where are you when we need you? (I hate to keep harping on this
but: another publisher in desperate need of a competent proofreader.)
	 -- David M Shea

The Eye of the World [***]
by Robert Jordan
Tor, $12.95 670 pg.

Despite its length, this is only the first book of a series. However the
book is a properly done novel. The story started in this book is
finished in the book. The ending sets the stage for the next book.

In an age long past the Dragon defeated and imprisoned the Dark One.
However the Dark One is also the Great Deceiver. He managed from his
prison to make the Dragon kill his family. In his anguish the Dragon
caused the Breaking of the World. Just as the Dark One was not
completely imprisoned, the Dragon did not truly die. The Dark One is
forced to wait for the Dragon's reincarnation to complete his triumph.

As the story begins the Breaking of the World is still remembered but
much of the details have been lost in the mists of time. This is partly
the work of the Dark One. The Dragon is now remembered as the one who
broke the world instead of as the vanquisher of the Dark One. Many
people believe the Aes Sedai, the Dragon's old order, broke the world.

An Aes Sedai, Lady Moiraine, has discovered an unusual interest by the
Dark One in three farm boys (Mat, Rand and Perrin.) She does not know
why the Dark One is interested in three ordinary and insignificant farm
boys. However if the Dark One is interested in them, so is she and if he
wants them, she must take them to safety. This is the story in the book.
By the end, the reason for the Dark One's interest is revealed and the
revelation is the basis for the sequel. There is also a climatic battle
where the power of the Dark One is curtailed again for a while.

In the typical high fantasy, the characters all know who is good and who
is evil and what must be done to combat The Evil One. In this book, it
is not always clear who is evil and who is good. It is also not clear
whether an action is the correct one to take. Even when someone is
seemly good, their actions are affected by personal and political
ambitions and even religious disputes. Also not all actions bring about
the intended result. This complexity and uncertainty makes this high
fantasy unique.

The characterization is not up to the same level. The characters are
mostly the expected stereotypes. However a few characters, such as Mat,
are unique in the sense that they are not usually found in a high
fantasy nor are they as well developed. I suspect Mat will turn into a
foe in the future books and die tragically. He has that sense of
foredoom about him.

The final battle is not as well done as it could be. Jordan did an
excellent job of showing this character's development into a mature
young man from an naive farm boy but not his development into a major
magic user. That ability came too suddenly and conveniently to be quite
believable despite knowing who the boy really is.

This series will undoubtedly be compared to The Lord of the Rings. There
are many similarities but no more than The Lord of the Rings had to the
traditional European myths that inspire it.
-- Danny Low

The Great and Secret Show
Clive Barker
Harper&Row; 0-06-016276-7; 550pp; Jan. 1990; $19.95

This acclaimed British author has done much to raise the level of horror
writing above the slasher level and in his new novel, The Great and
Secret Show, he even limits the amount of violence found in his previous
works.

The story is essentially the getting of one particular power -- 'The
Art' -- and with it one will be able to step into peoples' dreams; for
dreams are explanations of what it means to be born and to live and to
die - a dream explains what 'being' is for.

The usual Barker elements are found in this new novel: vivid characters,
a complex and twisting plot and the aura of the supernatural at work.
This is slower paced than some of his short stories - much in the vein
of Weaveworld. The diverse and needless sexual scenes add nothing to the
story; I feel they detract from an otherwise noble effort.

As Barker said in a recent interview in the Toronto Star: "I don't even
think I'm writing horror fiction anymore. It's what you could call
fabulist fiction -- fiction of the imagination. I say 'fabulist',
because it isn't exactly fantasy, which conjures up images of The Lord
of the Rings."
	 -- Richard Weilgosh

Houston, Houston, Do You Read?/Souls	[***+]/[****]
James Tiptree, Jr. / Joanna Russ

A Tor Double featuring two old novels, one of which I'd read before. The
theme linking the two stories is hard to find, although "feminist SF"
seems like a good first approximation. "Houston, Houston, Do You Read?"
is Tiptree's Hugo and Nebula award-winning novella of three astronauts
sent 300 years into the future. Of course, the future isn't quite what
they were expecting, nor is it quite what it appears. The story, like
most of Tiptree's work, is well-written and thought provoking. I wasn't
convinced that the future society was workable, or that it would develop
from the given background, though. I think there are some glitches in
the biology and sociology it implies, but I can't say more without
spoiling the story. "Souls" is the story of an abbess in dark ages
Europe who tries to save her convent from a Viking raid. It rapidly
becomes apparent that this is no ordinary woman, however. Most of the
story has a fantasy feel to it, but there is a science fiction twist at
the end. I'll admit that the ending caught me off guard; I was expecting
a different, more didactic statement. Russ's ending was definitely
better than my idea, though. A better-than-average collection of two
stories.
	 -- Chuck Koelbel

The Lantern Of God	[**+]
John Dalmas
Baen, 1989, $3.95, 403 pp

Stranded in an unknown part of space, a ship dumps its cargo of androids
in one place on a planet; the crew sets up their own colony thousands of
miles away. A millennium later, their descendants return to the
androids' continent, ostensibly to re-establish trade, but actually as a
prelude to invasion. Hoo boy, are they in for a surprise.

This author, whom I had not read before, was recommended by an
acquaintance. Had this been a first novel, I would probably have liked
it well enough. Since it is evidently Mr Dalmas's seventh novel, I can
only say I was not that impressed. The book is okay and routine and does
nothing that hasn't been done before many times. There's no one thing I
can point to and call "wrong"; but this just never came alive for me.
	 -- David Shea

The Last Ship	[**-]
William Brinkley
Viking, 1988, $19.95, 616 pp

The nuclear war has come and gone. As far as they can tell, the crew of
the missile-frigate USS Nathan Jones (250 men, 26 women) are the sole
survivors. America is presumably a write-off, so they do a Swiss Family
Robinson act on a South Sea island. Predictably, the imbalance of
genders creates some problems ...

I looked up this book since it is the reputed next project of filmmaker
Steven Sonderbergh, the man behind the blistering sex, lies, and
videotape (lower case sic). Oddly, I can see this as a film -- if
someone with visual imagination and a sense of character can rescue the
story from under Mr Brinkley's turgid prose. I started snickering when
the author described the "fructuousness" of the breeze on page 14.
Somehow I have the feeling a reader isn't supposed to be giggling
through an "after the holocaust" book.

Something might have saved this novel: any sort of conceptual
originality; some plausible and empathic characters (that the viewpoint
character is a raving chauvinist piggie is not a plus in my view); any
style other than bombastic purple. Since the novel has none of these, I
recommend you wait for the movie. Good luck, Mr Sonderbergh: you're
going to need it.
	 -- David M Shea




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