Books to Look For
Fantasy & Science Fiction June 1991
By Orson Scott Card
The Singers of Time, Frederik Pohl & Jack Williamson (Doubleday/Foundation,
Cloth/Trade Paper, 384 pp, $21.95/$10.95)
Science fiction has been noted in the past for many inspired
collaborations, in which the combination of two fine writers results in fiction
that is excellent and yet different from both writers' solo work. One thinks
immediately of Kornbluth & Pohl and Niven & Pournelle.
That tradition has been dissipated in recent years by a different kind of
"collaboration," in which a big name pro writes an outline and an eager young
writer "fleshes it out" (i.e., writes the novel). Cynical readers are learning that
the second name on the book, the one that they've never heard of, is the real
author. Cynical reviewers, like me, claim that neither name is the "author,"
since neither writer takes real responsibility for the book. Computers could write
books with more soul than some of these wretched little assemblages of words on
paper.
Do I even need to tell you that The Singers of Time belongs in that former,
grand tradition, not the squalid modern one? Pohl and Williamson are both
writers of great integrity, and what they have wrought together is a fine novel
worthy of either of them working alone. Instead of neither taking responsibility
for the finished work, both do.
The idea is a good one, even if it does have a somewhat timeworn feel to
it. Aliens have taken over Earth, enslaving us with kindness; humans have
reacted like primitive cultures that eagerly subsume themselves in the "higher"
culture that gives them such marvelous goodies. But some humans remember
the moral dimensions of life; some, too, remember the almost-lost sciences that
once allowed us to inch our way starward, instead of taking giant leaps on
someone else's shoulders.
Bad enough that we buy the aliens' half-truth that the taurs, a species of
semi-intelligent slaves, really don't mind being slaughtered for food. What's
worse is that we use their system of plug-in "learning" in which we essentially
allow our bodies to be taken over by temporary mental implants, so that we do
perfect work -- but have no memory of doing it or understanding of what it was
we did. Yet when the crisis comes -- when the alien mother planet disappears --
they must turn to the few humans who remember how to think and learn in
order to solve their problem and bring their race back from the brink of
destruction.
How it all happens is one of the most wonderful space opera romps I've
read in a long time. And because Pohl and Williamson are of the old guard,
they don't do it with tongue in cheek, the way Rudy Rucker and Richard Lupoff
have (delightfully) done it in recent years. They play it straight. Their heart is
in it.
There are drawbacks. The characters seem childish -- that is, they feel
only one thing at a time. With no complexity of motive, once a character has
been given his attitude-of-the-hour he acts it out with relentless determination.
And the emotions they feel are usually pretty silly -- intelligent people arguing
about ideas and discoveries as if they were children in a softball game arguing
whether the guy was safe or out. But then, the heroes and gods of the Iliad are
childish, too. And character does not amount to nothing in the story; at times it
is important indeed.
A worshipful attitude toward "lost human science" is one of the most
troubling things about golden-age sf, and The Singers of Time certainly has that
view of the scientist as godling, of science itself as the nirvana-like apprehension
of Truth. Well, I'm sorry, but that mythical view of science is as boneheadedly
wrong as the mystical view of art that seeps like osteoporosis through literary
fiction. Real science works exactly like government bureaucracy, complete with
infighting, inertia, exploitation, careerism, and irresponsible insularity. Genius
is routinely ground up and spit out, unless it conforms to certain norms or
happens to catch on like a fad. The mystical view of scientists and of science is
deceptive and harmful, both for scientists and non-scientists, and this book has a
serious case of science worship.
But -- these flaws are endemic to the sf tradition out of which this book
arises. It is a book of a kind, and one of the best of that kind. Excellent ideas
are well explored in the story. I especially like their starships, which because
they travel at lightspeed, are all waves and therefore can pass through almost any
amount of interstellar radiation unharmed. A nice idea which I intend to steal
frequently.
If you look for fiction that shows awareness of all that has happened in
science fiction in the last thirty years -- echoes of Ellison, LeGuin, Varley,
Sterling, Willis, Fowler, or Gibson -- forget this book. Science fiction might as
well have frozen with Blish. But hey, folks -- Blish was terrific, and so, for that
matter, were -- are -- Pohl and Williamson. If you like that old-time sci-fi --
and I do, in spite of my best literary pretensions -- then this book's for you.
SimEarth (Maxis, 1991, computer game for IBM & MacIntosh)
Here is the science fiction fan's ultimate computer game. You have a
planet, and it's your job to manipulate the environment until it's favorable to
sentient life, and then nurture the growing civilizations until they're ready to go
forth and colonize other star systems. You can start with Aquaria, a watery
planet without landforms, and use volcanos and continental drift to create the
dry platforms of life; you can start with pre-Cambrian Earth, or Earth at the
dawn of humankind; or you can opt to terraform Mars or Venus, a difficult
project at best. The program will also generate random planets, or will let you
play games with James Lovelock's hypothetical Daisyworld, to see how evolution
responds to environmental change -- and changes the environment in the
process.
The manual is thick but well worth exploring because it helps you
understand the processes you're working with on the screen. Anybody who plays
at the advanced levels and successfully terraforms a planet or brings a sentient
species to interstellar flight deserves college credit; and yet the game is never for
a moment dull. This is computer game design at its best -- the computer does all
the work and you get to make all the interesting decisions. It's also legitimate
computer simulation of reality, every bit up to the standard set by Maxis's
previous hit, SimCity.
If you don't already own a computer, find a store that has SimEarth as a
demo and play it for a while. You may discover that a home computer is a
necessity after all.
|