Just received my author's copies of Rich Horton's The Year's Best Science Fiction and Fantasy, so here's a bit of pimpage for it. Thirty-one stories, including one by me, 'Crimes and Glory', pretty good for under a tenner.
Saturday 14 August 2010
More Best
Posted on 05:55 by Unknown
Just received my author's copies of Rich Horton's The Year's Best Science Fiction and Fantasy, so here's a bit of pimpage for it. Thirty-one stories, including one by me, 'Crimes and Glory', pretty good for under a tenner.
Thursday 12 August 2010
Crystal Palace And Me
Posted on 09:43 by Unknown
My visit to the dinosaur models in Crystal Palace Park wasn't my first encounter with Crystal Palace and the Great Exhibition. When I was born, my family lived in a cottage rented from Sir John Stanley Marling, 4th Baronet of Stanley Park and Sedbury Park. To mark the event, he gave my mother ten shillings, to invest on my behalf. Even in Stroud, which in the mid-1950s was still coming to terms with the twentieth century, acts of noblesse oblige like this weren't exactly usual. But Sir John came from a old family, with deep roots in the area.
They made their fortune in wool, the main industry in that part of the Cotswolds for several centuries. His great-grandfather, Sir Samuel Marling, the first Baronet, was one of the people responsible for founding the grammar school, Marling School, I later attended. Before that, I was at Selsley Primary School, which was associated with the church Sir Samuel built for the village, next door to the family seat. Most of the church's stained class was by William Morris & Co; it was Morris's first real commission, with contributions from Philip Webb, Edward Burne-Jones, Dante Gabriel Rossetti, Ford Madox Brown and George Campfield. And in the field behind the church was a lone pillar; made of Cornish granite, it was bought by Sir Samuel Marling at the Great Exhibition in Crystal Palace, where he had a display of his woollen cloth.
Those Victorians had a long reach . . .
They made their fortune in wool, the main industry in that part of the Cotswolds for several centuries. His great-grandfather, Sir Samuel Marling, the first Baronet, was one of the people responsible for founding the grammar school, Marling School, I later attended. Before that, I was at Selsley Primary School, which was associated with the church Sir Samuel built for the village, next door to the family seat. Most of the church's stained class was by William Morris & Co; it was Morris's first real commission, with contributions from Philip Webb, Edward Burne-Jones, Dante Gabriel Rossetti, Ford Madox Brown and George Campfield. And in the field behind the church was a lone pillar; made of Cornish granite, it was bought by Sir Samuel Marling at the Great Exhibition in Crystal Palace, where he had a display of his woollen cloth.
Those Victorians had a long reach . . .
Monday 9 August 2010
The Terrible Lizards Of Penge
Posted on 09:43 by Unknown
Last Saturday I travelled along the new East London overground line from Dalston to Crystal Palace Park, in the unglamorous South London suburb of Penge, to see some famous dinosaurs. The park was constructed to provide a permanent site for Joseph Paxton's Crystal Palace, which for six months housed the Great Exhibition in Hyde Park. The board of directors wanted to include a feature 'containing a collection of full-sized models of the Animals and plants of certain geological periods', including the first life-sized representations of newly-discovered dinosaurs. They got their wish, and it is a monument not only to Victorian science, but also to a famous scientific feud.
The board of directors first asked Dr Hilary Mantell, who had discovered and named the second known species of dinosaur, Iguanodon, and had amassed a huge collection of fossils, to supervise construction of the models. But Mantell, after suffering years of pain from a serious injury to his back, was dying. He declined the honour, and it passed to his great rival, Professor Richard Owen. Owen was a formidably talented and ambitious anatomist, and by all accounts an implacably ruthless and dislikeable man.
Although Mantell had championed the idea of a group of ancient, large, reptile-like animals, it was Owen who had recognised their defining characteristic - fused sacral vertebrae which allowed the huge animals to move about on land - and named them: dinosaur, from deinos 'terrible' and sauros 'lizard'. But this wasn't enough for Owen, who despite his formidable talent appears to have suffered from a gigantic inferiority complex. He'd spent years attempting to destroy Mantell's reputation, rubbishing his scientific papers, and trying unsuccessfully to prevent the Royal Society from awarding him the prestigious Royal Medal (there's a wonderful description of their feud in Deborah Cadbury's The Dinosaur Hunters: Owen as a mustachio-twirling monster of ego, Mantell as a romantic hero beset by impossible odds). But now Owen had triumphed: his enemy's fatal weakness had given him a wonderful opportunity to present his ideas for public consumption. Mantell died before the park was completed, and his twisted lower spine ended up as a gruesome trophy in the Hunterian Museum in the Royal College of Surgeons, where Owen had the position of Hunterian Professor. You couldn't make it up.
And so, with the help of the director of the fossil department at Crystal Palace, Benjamin Waterhouse Hawkins, Owen set to immortalising his ideas about dinosaur anatomy in cast iron and concrete. Unfortunately, many of those ideas were completely wrong. To be fair to Owen, he was making guesses from a small and incomplete selection of fossils. But he also believed that any progression in animal evolution was due to divine laws set in place by God the Creator, argued that all animals were variations on an ideal type, and refused to countenance any evidence that he might be wrong. So while Mantell had come to believe from his examination of later fossil finds that Iguanodon had shortened forelimbs and could stand upright to browse on tree branches, in agreement with modern interpretations, Owen depicted Iguanodon and several other dinosaur species as clumsy, dog-like quadrapeds (both he and Mantell mistook Iguanodon's hooked thumb for a horn). Before the turn of the century, a more enlightened scientific community regarded the models as a horrible embarrassment. Today, they look positively antediluvian: quaint relics of a more primitive era of science; props from some sci-fi adventure quota quickie.
Still, other models, such as those of plesiosaurs and several species of early mammals, were more accurate, and in its day the park was a roaring success, and helped drive the mania for dinosaurs that persists to this day. Owen went on to found the Natural History Museum, and to suffer from a severe reversal in his reputation when he clashed with Thomas Huxley and other supporters of evolution by natural selection. The Crystal Palace burned down in 1936; Owens' and Hawkin's models, recently restored, are still imposing and fascinating. If you get the chance, they're well worth a visit.
The board of directors first asked Dr Hilary Mantell, who had discovered and named the second known species of dinosaur, Iguanodon, and had amassed a huge collection of fossils, to supervise construction of the models. But Mantell, after suffering years of pain from a serious injury to his back, was dying. He declined the honour, and it passed to his great rival, Professor Richard Owen. Owen was a formidably talented and ambitious anatomist, and by all accounts an implacably ruthless and dislikeable man.
Although Mantell had championed the idea of a group of ancient, large, reptile-like animals, it was Owen who had recognised their defining characteristic - fused sacral vertebrae which allowed the huge animals to move about on land - and named them: dinosaur, from deinos 'terrible' and sauros 'lizard'. But this wasn't enough for Owen, who despite his formidable talent appears to have suffered from a gigantic inferiority complex. He'd spent years attempting to destroy Mantell's reputation, rubbishing his scientific papers, and trying unsuccessfully to prevent the Royal Society from awarding him the prestigious Royal Medal (there's a wonderful description of their feud in Deborah Cadbury's The Dinosaur Hunters: Owen as a mustachio-twirling monster of ego, Mantell as a romantic hero beset by impossible odds). But now Owen had triumphed: his enemy's fatal weakness had given him a wonderful opportunity to present his ideas for public consumption. Mantell died before the park was completed, and his twisted lower spine ended up as a gruesome trophy in the Hunterian Museum in the Royal College of Surgeons, where Owen had the position of Hunterian Professor. You couldn't make it up.
And so, with the help of the director of the fossil department at Crystal Palace, Benjamin Waterhouse Hawkins, Owen set to immortalising his ideas about dinosaur anatomy in cast iron and concrete. Unfortunately, many of those ideas were completely wrong. To be fair to Owen, he was making guesses from a small and incomplete selection of fossils. But he also believed that any progression in animal evolution was due to divine laws set in place by God the Creator, argued that all animals were variations on an ideal type, and refused to countenance any evidence that he might be wrong. So while Mantell had come to believe from his examination of later fossil finds that Iguanodon had shortened forelimbs and could stand upright to browse on tree branches, in agreement with modern interpretations, Owen depicted Iguanodon and several other dinosaur species as clumsy, dog-like quadrapeds (both he and Mantell mistook Iguanodon's hooked thumb for a horn). Before the turn of the century, a more enlightened scientific community regarded the models as a horrible embarrassment. Today, they look positively antediluvian: quaint relics of a more primitive era of science; props from some sci-fi adventure quota quickie.
Still, other models, such as those of plesiosaurs and several species of early mammals, were more accurate, and in its day the park was a roaring success, and helped drive the mania for dinosaurs that persists to this day. Owen went on to found the Natural History Museum, and to suffer from a severe reversal in his reputation when he clashed with Thomas Huxley and other supporters of evolution by natural selection. The Crystal Palace burned down in 1936; Owens' and Hawkin's models, recently restored, are still imposing and fascinating. If you get the chance, they're well worth a visit.
Saturday 7 August 2010
I've Got Your Uncanny Valley, Right Here
Posted on 02:51 by Unknown
Friday 6 August 2010
Penance
Posted on 05:46 by Unknown
It's Friday, so hey, have a free short story. Three hundred words, including a nod to one of James Blish's pantropy stories. It was originally published in New Scientist last year, in a science-fiction special section edited by Kim Stanley Robinson. Somewhere inside it, maybe, is the seed for a novel.
Penance
It’s December. Midsummer. The sun barely dipping below the horizon at midnight, and like everyone else Rongomaiwhe Namakin has white-nights fever, cat-napping, staying up around the clock. There’s so much to do! A dragon-sized machine is laying freshly made topsoil along the Tuvula river, and Rongomaiwhe and her crew are planting a strip forest of Dahurian larch and dwarf willow. And when they aren’t working, they hike up the river or across wet black rock fields. White mountains float against the pure blue sky. A wild rugged land still mostly untouched. A kingdom of snow and rock and wind.
Rongomaiwhe’s great-grandparents were early victims of global warming. When its Pacific islands were swamped by rising sea levels, their nation sold its carbon credits and moved to a refuge in New Zealand, which escaped much of the consequences of violent climate change. A succession of canny leaders preserved tribal unity and invested heavily inecological engineering. Rongomaiwhe’s parents helped to quicken a new ecosystem on Howe Island after shifts in ocean currents increased the average temperature by a full ten degrees. Now Rongomaiwhe is part of a rainbow coalition of the young and willing, taking on the challenge of greening the shores of the thawing Antarctic Peninsula.
She knows how lucky she is. More than half the Earth’s population huddle in slums along the new coastlines, permanently unemployed, forcibly sterilised, subsisting on dole yeast. And she is making a new world, and planning to start a family when she and her fiancĂ© marry this winter. That’s why, once a week, she does penance. Plugs into the remote working network, flows into a robot thousands of kilometres away, in one of the most inhospitable places on Earth. Brings the machine online and gets to work, planting a windbreak of tweaked yuccas for what will be an oasis, with the vast, level desert of Kansas stretched all around.
Thursday 5 August 2010
Martian Ice
Posted on 06:28 by Unknown
A meteorite hits the ejecta apron of a crater high in the Northern Martian hemisphere and opens a small blue eye of ice. It happened some time between April 2004 and January 2010, the dates when two different robot spacecraft photographed the same spot.
Wednesday 4 August 2010
Splice
Posted on 11:39 by Unknown
I was pleasantly surprised by this small-budget but intellectually ambitious bioshock film. Directed by Vincenzo Natali (Cube), who also co-wrote the script with Antoinette Terry Bryant, it's a variation on the Frankenstein mythos that combines an exploration of a skewed form of parenthood with human reactions to the uncanny valley. The plot, in brief: Elsa Kast (Sarah Polley) and Clive Nicoli (Adrian Brody) are romantically entangled partners who run a bioscience lab owned by a large pharmaceutical company. After creating fairly simple multicellular artificial organisms, they want to step up their research into genetic recombination by using human genes, but the parent company wants them to isolate the genes for a potent protein produced by their organisms. Faced with loss of independence, they go ahead with the experiment anyway, and create a fast-growing neotenous organism that develops from something like a naked kiwi to a female humanoid creature, Dren. As both Elsa and Clive form strong emotional bonds with their strange step-daughter, their company supervisor begins to suspect that they're hiding a secret, and Dren continues to change in unexpected ways . . .
Okay, set out as baldly as that, it doesn't seem any different from a couple of dozen things-we-weren't-meant-to-know horror stories. But the basic scaffolding of the plot exfoliates in all kinds of interesting, unexpected, and genuinely unsettling ways, and its ideas are nicely undercut by a knowing humour: this is a serious film that doesn't take itself too seriously. Both Elsa and Clive both have complicated reactions to their creation, oscillating between hubris, fear, and fatal attraction, exposing emotional weakenesses in themselves and their relationship; Elsa in particular has problems coming to terms with her creation, thanks to a childhood crippled by an uncaring mother. Her developing attachment to Dren is creepily ambiguous, and there's some good satire on the problems of parenthood as Dren races through all the stages of childhood and adolescence to a seriously problematic maturity.
The science behind Dren's creation contains a fair measure of handwavium, but Elsa and Clive are portrayed as scientists driven by ambition and inquisitiveness rather than haphazard craziness, and their lab has a cluttered authenticity. It's nice to see researchers using mini-centrifuges, Eppendorf pipettes, and gel electrophoresis rather than simply peering down microscopes: someone has obviously done a bit of homework. I liked the alarmingly temperamental plumbing of the artificial womb, too. Best of all is the design of Dren. Played at maturity by Delphine Chaneac with an eerie physicality that complements Greg Nicotero's and Howard Bergera's seamless mix of makeup, prostheses and digital manipulation, she's a genuinely weird and beautiful chimera, and some of the best scenes in the film explore her volatile mix of fear, vulnerability, frustration and outbursts of wild exuberance.
So, while the story may be familiar, Natali's angle of attack is refreshingly different, his low-key direction mostly eschews sensationalism yet delivers some nice shocks, and the intelligent script is complemented by some fine acting. And although the last act devolves towards creature-feature frights and alarms, it's just about redeemed by a final scene that has a chillingly spare ambiguity. Like Dren, it's a hybrid whose beauty is more than the sum of its parts.
Okay, set out as baldly as that, it doesn't seem any different from a couple of dozen things-we-weren't-meant-to-know horror stories. But the basic scaffolding of the plot exfoliates in all kinds of interesting, unexpected, and genuinely unsettling ways, and its ideas are nicely undercut by a knowing humour: this is a serious film that doesn't take itself too seriously. Both Elsa and Clive both have complicated reactions to their creation, oscillating between hubris, fear, and fatal attraction, exposing emotional weakenesses in themselves and their relationship; Elsa in particular has problems coming to terms with her creation, thanks to a childhood crippled by an uncaring mother. Her developing attachment to Dren is creepily ambiguous, and there's some good satire on the problems of parenthood as Dren races through all the stages of childhood and adolescence to a seriously problematic maturity.
The science behind Dren's creation contains a fair measure of handwavium, but Elsa and Clive are portrayed as scientists driven by ambition and inquisitiveness rather than haphazard craziness, and their lab has a cluttered authenticity. It's nice to see researchers using mini-centrifuges, Eppendorf pipettes, and gel electrophoresis rather than simply peering down microscopes: someone has obviously done a bit of homework. I liked the alarmingly temperamental plumbing of the artificial womb, too. Best of all is the design of Dren. Played at maturity by Delphine Chaneac with an eerie physicality that complements Greg Nicotero's and Howard Bergera's seamless mix of makeup, prostheses and digital manipulation, she's a genuinely weird and beautiful chimera, and some of the best scenes in the film explore her volatile mix of fear, vulnerability, frustration and outbursts of wild exuberance.
So, while the story may be familiar, Natali's angle of attack is refreshingly different, his low-key direction mostly eschews sensationalism yet delivers some nice shocks, and the intelligent script is complemented by some fine acting. And although the last act devolves towards creature-feature frights and alarms, it's just about redeemed by a final scene that has a chillingly spare ambiguity. Like Dren, it's a hybrid whose beauty is more than the sum of its parts.
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