Showing posts with label science fiction. Show all posts
Showing posts with label science fiction. Show all posts

Thursday, December 19, 2019

Book review: C. J. Cherryh "Foreigner"

It was a slow-paced book, and I was afraid I wasn't going to finish it -- I no longer force myself to finish books that don't sufficiently appeal to me -- but I finished it because, despite the slowness, it had some indescribable satisfactory quality. Perhaps because it was a book you could watch unfold before your eyes like a movie. Sometimes you read a book where every sentence falls apart into a pile of words as soon as you are finished with it, without adding up to an image in your head. This is the opposite. This book is highly immersive. Just for that quality you might like to continue reading it even when the plot is not very compelling. But those who like fast-moving narrative might not find it to their taste.

The main character, Bren is an ambassador of sorts to an alien race, called atevi that lives on a planet where humans are guests. Or perhaps he is more like a translator between humans and atevi. His official title in atevi language is paidhi, and that's how he is referred to throughout the book. He lives in the royal court of one of the planet's several kings, or aiji. Humans are permanent, though unwanted, guests on this world, because they ended up there by mistake and can't get off of it. Humans live in just one continent, maintain a truce with the atevi, and have been slowly trickling out their technologies to the atevi. At present they brought the local technology up to roughly the level of early 21st century Earth. The locals are civil to the humans, but (as behooves aliens) inscrutable.

One day someone attempts to assassinate paidhi Bren. In response to that, the king / aiji quickly orders him whisked away to a remote corner of the country. It's done under the guise of the paidhi's protection, but it quickly becomes clear that it's more like imprisonment. He is exiled to a place where he is completely isolated and has no way to contact any humans.

This happens fairly early in the book, and then for the next 300-something pages neither he, nor we, the readers, know what was the true reason of his abduction, or where all this is going. The book slows down as Bren tries to figure out where he stands with his captor-protectors based on short, fragmented conversations he has with them.

He is not sure where their loyalty lies. Are they loyal to him? He strongly suspects not. Are they loyal to their employer(s), such as the aiji, or other organizations and alliances? Nor is he sure whether it is useful to them to keep him alive. He knows (but is not sure if the natives known) that the atevi can't use him as a pawn to extract something of value from the humans, because if his life is threatened, the human government will let him die. They said so from the start and he took the job with the full understanding of this. So, in this situation, he knows there is nothing protecting his life but his captors' whim.

He tries to probe their minds via short, fragmented conversations, but those conversations always skirt the essence of the topic. Yet they occupy the next 300-something pages of the book. Those talks are fraught with misunderstandings, some of them absurd, but not in a funny way. For example, the atevi can't fathom that the word "like" has many meanings, and that to like a food is very different than to like a person. This seemed rather unLIKEly to me. Bren even speculates that the locals don't have feelings. At the same time, it is obvious that they have feelings of dignity and pride, and that pride is rather easily wounded by a foreigner asking the wrong kinds of questions.

Those conversations don't go very far, and three quarters into the book we still don't have a clue who Bren can or cannot trust. So we are still waiting for the other shoe to drop, which is to say we are waiting for this low-grade suspense to lead to a huge revelation. There are so many minor shoes dropping throughout the book that you can never tell which of them is "the real thing" as opposed to random incident. Then, finally, around 3/4 into the book, his situation goes from merely uncomfortable to much worse. Only then the key point is revealed, and we find out the real reason he is kept captive. The pace of the book picks up after that.

I didn't understand what conclusion he reached at the ending either. Maybe I need to reread it. It seems like he was faced with a hard conclusion that humans were not welcome on this planet, but found a way to negotiate with atevi that could lead to permanent peace. But if there was an a-ha! moment in this book, it was rather subtle.

To summarize, this is a book for those who like science fiction with lots of psychological nuance. I personally like it too, but this wasn't the kind of nuance I could relate to. But then I'm known to be a robot. If you can tolerate the plot advancing very slowly, and if you are intrigued by characters trying to figure out what another character meant by their every utterance or gesture, with cultural differences thrown in, then it may be a book for you. I have to say, for me, the character's ruminations supplied just enough intrigue not to put the book aside, but ultimately did not add to something satisfying.

Wednesday, September 14, 2016

Book review: Lauren Beukes "The Shining Girls"

This is a book about a time-travelling serial killer and a woman who survives her own murder attempt and sets out to catch him. The most interesting part is that she doesn't even consider time travel as a possibility (the book is set in the conventional reality), but gradually comes to accept it, based on evidence.

The weakest chapters of the book were the ones written from the killer's point of view. Those parts have a detached, distancing quality. I didn't get any clue as to the killer's motivation. At some point he feels forced by the House itself (a house where he lives that serves as a portal to different eras) to go murder all those women. But he does not respond like an ordinary person would if they felt compelled to murder someone. At the very least s/he would be upset and conflicted about it. Even more so if the urge was planted directly in their mind by a mysterious force. That should make anyone question their own sanity, but the murderer does not seem disturbed. He is very nonchalant about all that.

If the killer had been portrayed in a way that readers could connect with him (and yes, to enjoy a book you have to connect with the villains too; you need to get into their mind and understand why they do what they do, even if you don't find it justifiable), I would have added another star to the review.

It is in the victims' plotlines that the storytelling really picks up. Each of the eight murdered women were interesting, different, and vivid. They made the book worth reading. It quickly became clear why they were called the Shining Girls. Each of them was ahead of her time in some way, breaking the mold of what was expected from women of their time. In that way perhaps the House could be viewed as embodiment of evil reactionary forces of the world. But if so, that metaphor isn't developed in the book very well.

The story really takes off when one of the women survives the attempted murder and gets on the killer's trail; as level-headed as she is, she is eventually forced to accept the evidence that the killer might have traveled in time to commit murders. I really liked that she applies every ounce of skepticism to examine all the other possible explanations, and only after exhausting them settles on the seemingly impossible.

I will not reveal the ending, except to say that it was a quite confusing. Perhaps that was deliberate: time travel stories are very difficult to resolve in a satisfactory and logical manner. Once you start dealing with time paradoxes, there is no good way out. So even though the ending felt handwavingly dismissive and intentionally obscure, it doesn't detract from the story that much; its essence was about the journey, not the destination.

Rating: approximately 3.5 or 4 stars out of 5

Sunday, January 24, 2016

ArmadilloCon 2015: New Feminist Science Fiction

Beside book and story recommendations, this panel on the best recent feminist science fiction and fantasy involved a discussion on what the panelists would like to see more in the feminist SF/F.

Feminist speculative fiction writers, recommended by our panelists

Stina Leicht recommends:

Kameron Hurley, Elizabeth Bear, Ann Leckie, Nisi Shawl, N. K. Jemison, G. Willow Wilson.

Katherine Sanger mentioned science fiction written by men that has awesome female characters, but it went by too fast for me to write down the names (-- E.)

Nancy Jane Moore recommends:

Andrea Hairston -- her work "Mindscape" really plays with gender stuff. Jennifer Marie Brissett "Elysium". Also, Aqueduct books. If you need a reading list of feminist SF, just go to the Aqueduct books page. And anything on the Tiptree awards page.

Kelley Eskridge's collection Dangerous Space. It has a character named Mars, and I defy you to tell me whether Mars is male or female.

Going into fantasy world -- Laurie J. Marks, whose Elemental Logic series starts with Fire Logic. Gender politics, war and peace, you name it, it is covered in the Elemental Logic.

Caroline Yoahim recommends:

Nicola Griffith Hild -- historical fantasy. She is a really intelligent female character. There is a freedom for her to explore sexuality in the way that was not available to women.

Tina Connoly: IronSkin, Copperhead, and Silverblind: steampunk Jane Eyre with fairies.

Nnedi Okorafor Who Fears Death

Nalo Hopkinson writes fantastic feminist stuff, such as Brown Girl in the Ring.

Short fiction

Caroline Yoachim recommends the Crossed Genres magazine. Of the notable stories there she recommends these:

Sylvia Spruck Wrigley "Space travel loses its allure when you've lost your moon cup".

Rachael K. Jones "Makeisha in Time" -- story of a black woman who lapses backward in time.

Alyssa Wong "The Fisher Queen" is up for a Nebula this year. It is a mermaid story, and some themes in it require trigger wanings. Cost of not speaking up against injustice.

Sofia Samatar "Selkie Stories are for Losers".

Amanda Downum recommends:

Kij Jonhson short story "Spar";

Catherine Valente's Fairyland series for children that starts with "The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making".

What they would like to see more in the feminist science fiction

Amanda Downum. I am a fan of playing with subtle things, instead of bringing a hammer. I like Trojan horses. I like books with an array of women doing an array of interesting things. Not just having one special woman, because then it becomes a token.

Stina Leicht. I'm like you. I don't like having one special, kickass token female character to who nothing bad can happen. (She refers to Arya from Game of Thrones as an example of a female character that's singled out for special treatment.) Arya is great! She's never going to be raped!

Amanda Downum. I like the normalization of women doing things.

Caroline Yoachim. I like a wider range of cultures represented in SF.

Amanda Downum. I also have hard time pulling feminist out of broader range of cultures. (Perhaps she meant that it is impossible to dissociate diversity of cultures from feminism. -- E.)

Caroline Yoachim. The broadening of feminism in science fiction is a good thing.

Nancy Jane Moore. [I like that] We finally moved away for the reality where white male is the default, and anyone else's existence needs to be justified.

Stina Leicht. Minorities and women are historically not permitted anger. You're supposed to have a sense of humor, laugh it off.

Nancy Jane Moore. The same issue as with Sandra Bland dying in a jail cell. She was not permitted to get angry when she got pulled over.

Stina Leicht. When the Hunger Games movie was made, a lot of people got upset, because they were convinced that Rue was white. They thought it was not OK for her to be a person of color.

Amanda Downum. You can describe your character very clearly, and some readers will still sail past what you're trying to do. (I think she means that some readers will visualize your character as white even if you described him or her as a person of color, simply because white is the default to them. -- E.)

Caroline Yoachim. It's tricky. I'm half Japanese, and I write a lot of Asian characters. But you don't want to bludgeon people with the character's race. When you're writing a modern Japense American character, they don't have to have a traditional Japanese name. And people will automatically whitewash it.

Stina Leicht. It happened to Ursula LeGuin, the Earthsea wizard -- people assumed he was white.

Left to right: Caroline Yoachim, Nancy Jane Moore, Katherine Sanger, Amanda Downum, Stina Leicht.
Left to right: Caroline Yoachim, Nancy Jane Moore, Katherine Sanger, Amanda Downum, Stina Leicht. More pictures from ArmadilloCon 2015 (37) are in my photo gallery.

Amanda Downum. One of the things that frustrated me in science fiction is that people stop questioning. They have their speculative idea, their fantasy world, but then they don't question and push -- they just stop. They found one thing they wanted to write about, and they don't think that anything else can be different. You have a world you are creating from scratch, so why don't you push yourself to imagine more? Why your gender relationships are like from the 1950s America?

Nancy Jane Moore. Academic book "Brain Storm" by Rebecca M. Jordan-Young -- most of research that find brain differences between men and women are bad science. When you look at differences among people, they don't break down along gender lines.

Amanda Downum. When you're a shallow writer, you're a shallow writer. It manifests in more than just not being able to write female characters.

More book recommendations

Caroline Yoachim recommends:

Collections of short stories: "Women destroy SF", "Women destroy fantasy", "Women destroy horror".

Nisi Shawl "Filter House" -- another Tiptree winner.

Amanda Downum recommends:

Jacqueline Koyanagi Tangled Axon books. The first book is "Ascencion".

Caroline Yoachim recommends:

Maureen McHugh: short story collections "After the Apocalypse", "Mothers and Other Monsters".

Nancy Jane Moore recommends:

"Necessary Ill" by Deb Taber. Her main character is a neuter. The neutter people go by "it". They are neither male nor female. They don't have genitals. They do very disturbing things. It is a disturbing book , and that's the greatest recommendation I can give for a book.

Amanda Downum. Talking about characters doing unpleasant things: I would like to have a discussion about female characters doing unpleasant things, and how audiences respond to them.

Stina Leicht. Women are people, and part of being people is making terrible mistakes. It happens, and it needs to be OK in the books.

Questions from the audience

Q1. How do you like the treatment of those issues in film?

Nancy Jane Moore. 10 minutes of Fury Road was a great movie. Overall I think film is way behind fiction.

All the panelists agree.

Amanda Downum. Marketing constraints, etc.

Stina Leicht. And there are very limited roles for women once they hit 35.

Caroline Yoachim. Also, other contraints like race, sexuality. When we celebrate the broad range of female characters in the books, that's totally not true for film.

Nancy Jane Moore. The only SF movie I liked last year was "Her". It is not feminist, but it is going someplace really interesting science fictionally. And the best feminist film of the last years is "Obvious Child", which is not science fiction.

Q2.Do you have high hopes for Ghostbusters?

Stina Leicht. I really don't, sorry to say. What does it say that our best feminist movei hope is a movie that's completely lacks in plot? It is just explosions. A woman driving a monster truck. I don't like what Hollywood is doing where we rehash everything. Hollywood caters to the established audiences, and they don't take chances.

They mention Geena Davis institute for women in film, and it is doing good work.

Q3 (not really a question, but a remark). A movie that was very interesting from feminist perspective was "The Age of Avalon" -- about a woman who doesn't age, and the difficulties she's going to have. She comes across one of her former lovers, who is 65, but she still looks 29. And she's dating his son.

Saturday, October 10, 2015

Short Fiction You Should Have Read Last Year: ArmadilloCon 2015 panel

For starters, panelists K. B. Rylander (moderator), Eugene Fischer, and Rebecca Schwarz list their favorite short stories of the year.

Rebecca Schwarz. Ken Liu "Cassandra".

K. B. Rylander. Eugie Foster "In the end, he catches her". It was published the day she died, just by coincidence.

Best sources of short stories

Rebecca Schwarz. I listen to a lot of stories. There are lots of great ways to listen to them, such as the podcasts by Clarkesworld, Cast of Wonders (Young Adult fiction), Beneath the Ceaseless Skies, Strange Horizons. Tor is on and off with their podcasting, but sometimes you can discover great stories there, like Kij Johnson. Escape Pod -- they do a lot of reprints. (It also exists in the print form.) Starship Sofa also does a lot of reprints. Bourbon Penn.

Eugene Fischer. Lightspeed, Strange Horizons. Oddly, the best publication for finding new authors these days is Twitter. Follow authors, they will recommend a lot of stories. This year majority of the stories I found is not because I read Asimov's cover to cover, but because I follow authors, and when they have a story out, they'll tweet a link. You can harness social network effects to curate your reading for you.

Short Stories You Should Have Read This Year panel, left to right: K. B. Rylander (moderator), Eugene Fischer, Rebecca Schwarz.
Short Stories You Should Have Read This Year panel, left to right: K. B. Rylander (moderator), Eugene Fischer, Rebecca Schwarz. More pictures from ArmadilloCon 2015 (37) are in my photo gallery.

K. B. Rylander. When you think about stories you loved, what makes a great story? What makes them stand out?

Eugene Fischer quotes Kevin Brockmeier, who said that every great fiction owes its greatness to fidelity to one of 3 things: fidelity to language, fidelity to lived human experience, or fidelity to authorial obsession. An example of fidelity to language would be Ursula le Guin. An example of fidelity to authorial obsession -- J. G. Ballard. His writing is off the wall, but the images were strongly felt to the author. If a story doesn't bring at least one of those things to the table, says Kevin Brockmeier, then it won't work.

Rebecca Schwarz. I like stories that play with form, such as "Five Stages of Grief After The Alien Invasion" by Caroline Yoachim, who hangs the story on the traditional five stages of grief. Another example would be "Noise Pollution" by Allison Wilgus in Strange Horizons. It's punk as in cyberpunk. It's a young rebellious kid narrator telling a story.

K. B. Rylander. The way I approach story, the story needs to elicit emotion from the reader. Even in hard science fiction there needs to be emotional interest for that reader.

Eugene Fischer. "Cimmeria: From the Journal of Imaginary Anthropology" by Theodora Goss, published in Lightspeed, resembles Borghes: it's about how reality actually works. Lorrie Moore, in an introduction to "Best American Short Stories", said that a novel comes to us already half-ruined by its length, but in short story we can experience something pristine: a single moment. It is not necessarily in time, but a single esthetic moment. In "Cimmeria", students go to a field study in a country that exists only because they made it up. One of them falls in love with the daughter of a king. In this country there are strange cultural differences that they invented when they designed this country. One of them is, twins are actually the same person. The esthetic moment is, a shift from viewing cultural experience as an outsider, to viewing it as an insider. It's not a moment in time, but a moment in cognition.

K. B. Rylander. A lot of time in a story there is a very visceral emotion that people can relate to: loss, love, revenge. Those strong emotion stories are often ones that become the big stories for the year.

Rebecca Schwarz. Annie Bellet "Goodnight Stars": it was nominated for Hugos, but she withdrew.

Eugene Fischer Sam J. Miller "We are the cloud".

The panelists mention that they've found many notable stories that draw from global mythology, such as Chinese or Pakistani. An example would be Carmen Maria Machado "The Husband Stitch", nominated for the Nebula Award.

Humor stories

Rebecca Schwarz. Daily SF publishes a lot of humor. Also, Alex Shvartsman publishes humor anthologies, Unidentified Funny Objects.

K. B. Rylander. Two flash pieces: "I am Graalnak of the Vroon Empire, Destroyer of Galexies, Supreme Overlord of the Planet Earth. Ask Me Anything." by Laura Pearlman. It's a Reddit with an alien who has came to earth. Oliver Buckram "Half a Conversation, Overheard While Inside An Enormous Sentient Slug".

Eugene Fischer. Alice Sola Kim "Mothers, lock up your daughters because they are terrifying" -- a ghost story of Korean adoptees loking for the biological parents with the help of Cthulhu.

K. B. Rylander. Kris Dikeman "Madhouse on Aisle 12" -- a woman goes to a grocery store, and the food talks to her. It's hilarious.

Great stories that didn't get much attention

K. B. Rylander. What stories were great, but didn't get a lot of attention?

Eugene Fischer. Guernica magazine published a story by Anna Noyes, "Becoming", from a point of view of chimpanzee who grew up in an 1950s experiment of raising a chimp in a human family to see if it grows up like human. It's not going to get attention in genre fiction awards, and there's no such thing as realist fiction awards.

K. B. Rylander. Story by William Ledbetter, "That Other Sea", publsihed on Escape Pod (available in both podcast and text versions). It takes place on Europa, on the theory that there is life under ice on Europa. It's a first contact story from the point of view of the aliens. What drew me into the story is that the alien has overwhelming curiosity about the world, the yearning for what's out there.

Rebecca Schwarz. A story in Strange Horizons, Kate Heartfield, "Limestone, Lye and the Buzzing of Flies". It leans a little literary, it's a little interior. It's a fantastic coming-of-age story with magic elements.

Must-read short story writers

K. B. Rylander. Do you have any must-read writers?

Eugene Fischer. Carmen Maria Machado, Ted Chiang, Alice Sola Kim, Kelly Link, Meghan McCarron.

Rebecca Schwarz. Karen Russell, M. Bernardo (she recommends his story in Beneath the Ceaseless Skies, possibly "The Penitent" or "After Compline, Silence Falls"), Kevin Brockmeier.

K. B. Rylander. Sarah Pinsker, Caroline Yoachim.

Controversial, influential, wave-making stories

K. B. Rylander. What stories do you think were very important to the industry as a whole, that really made waves, that were controversial?

Rebecca Schwarz. Cruel stories well done are just perfect. Chuck Palahniuk wrote a story "Loser" in Neil Gaiman anthology, it's aboujt a guy on The Price is Right, he's tripping on acid, and he gets called on the stage.

Eugene Fischer. Kij Johnson "Spar". Kij Johnson experimented with stripping as much as possible from the story. It produced incredible winners, including "26 Monkeys". Rachel Swirsky "If You Were A Dinosaur, My Love".

Rebecca Schwarz. "Dinosaur" became politicized in the Hugos, and that had nothing to do with the story.

Eugene Fischer. "Dinosaur" became a token, a symbol for people for who stories with emotional load is not sufficient. People who think they have ownership over what the speculative fiction genre should be.

Trends in short fiction

K. B. Rylander. Do you want to talk about any trends in short fiction? Do you see it evolving recently?

Eugene Fischer. Last year it shifted to digital publication. Print is fully an afterthought. Charlie Finley's new regime in Fantasy and Science Fiction produces very good stuff. Print venues are continuing to do good job, but the critical mass of attention has shifted online.

Rebecca Schwarz. I'm seeing more diversity. Ken Liu has now translated several short stories from Chinese.

Eugene Fischer. Chris Brown two years ago co-edited an anthology "3 messages and a warning" of Mexican science fiction stories translated into English.

Then Eugene Fischer asks the other two panelists: What's out there that people should read of yours?

Rebecca Schwarz. "Black Friday". It is a story of a future dystopic Thanksgiving that has become codified, football game to the death, in a big box store, that everybody watches. It is in Devilfish Review.

K. B. Rylander. "We Fly", about trying to find life in Alpha Centauri system. It's based on real science. The story opens when an uploaded human mind, a woman, wakes up in a spaceship. She wakes up, and something is completely wrong, but there is no external damage. It's her trying to work through these things.

Wednesday, August 05, 2015

The Hugo Award's Struggle for Relevance: an ArmadilloCon 2015 panel

It's not too much overstatement that blood was expected to flow on "The Hugo Award's Struggle for Relevance", a.k.a. the Sad Puppies debacle, panel at the ArmadilloCon. But the discussion was instead polite and even funny at times. Here are the main points of the discussion. (Pretty much everything is paraphrased.)

The panelists were Lou Antonelli, Justin Landon, Michelle Muenzler (moderator), Marguerite Reed, and Jacob Weisman.

The discussion opened with moderator Michelle Muenzler asking who exactly the Hugo Awards represent. A lot of fandom claims they don't represent them.

On one hand, Hugo Awards are the only science-fiction and fantasy genre awards that the general public (at least the portion that reads those genres) has at least heard about. But upon closer look, Justin Landon said, only a very small part of the SF/F-reading population has heard of Hugos, cares about Hugos, or lets Hugo Awards influence what authors they read. At the end of the day, it only represents the Worldcon voters. Marguerite Reed agreed that people who vote on Hugos are a small percentage of SF/F readers. Jacob Weisman too agreed with everyone else that this award represents mainly, or only, the fans who bought memberships to Worldcon.

The Hugo Award's Struggle for Relevance: an ArmadilloCon 2015 panel: left to right: Michelle Muenzler, Jacob Weisman, Lou Antonelli, Marguerite Reed, Justin Landon.
Left to right: Michelle Muenzler, Jacob Weisman, Lou Antonelli, Marguerite Reed, Justin Landon. More pictures from ArmadilloCon 2015 (37) are in my photo gallery.

If that's really the case, why are we worried about what the future of Hugo Awards means for the future of the speculative fiction genre?

I could say that there was a brief argument as to whether the fans who bought WorldCon supporting memberships were "true fans". But in reality, none of the panelists were presumptuous enough to divide the fans into "true" and "false", so it was more like a meta-argument, a survey of popular arguments. For example, one could say that the "true fan" would be considered someone who buys Worldcon memberships and votes for Hugos year after year. But the panelists agreed that the definition of a fan can't be as restrictive as that. Marguerite Reed said that she didn't believe that everyone who bought supporting membership was a true fan, and that no doubt some people bought it for questionable reasons, such as to put Sad Puppy nominated authors on the Hugo ballot; but she is willing to welcome all those people into the science fiction community. She hopes that they will like it enough to stay. Jacob Weisman said that, on the contrary, it might bring such a deep divide that people will opt out, as happened to the Nebula Awards a few years ago.

Justin Landon had very harsh words to anyone who likes to divide fans (even the politically-motivated Hugo voters) into true geeks and not true geeks. He, too, has been accused at conventions of being a fake geek. "When we see someone to come into our community, how screwed up it is to say, you're not one of us, get out, just because you're a conservative?" he said.

The Hugo Award's Struggle for Relevance: an ArmadilloCon 2015 panel: left to right: Michelle Muenzler, Jacob Weisman, Lou Antonelli.
Left to right: Michelle Muenzler, Jacob Weisman, Lou Antonelli. More pictures from ArmadilloCon 2015 (37) are in my photo gallery.

All this discussion or meta-discussion about true vs. fake fans/geeks seemed a bit pointless to me. The notion of being a science fiction fan or geek is so subjective, it's not like there could ever be a test administered who is and isn't a true fan or geek.

Lou Antonelli, who was nominated for Hugos by the Sad Puppies, said that he regretted how it turned out, and that he didn't want the Hugo ballot to be full of authors nominated purely based on political agenda.

Lou Antonelli. Whenever you have a system with laws, you chug along until someone finds a loophole, and then you rectify it. So maybe this year we will introduce some provisions. I think people should have fewer nominations than there are places on the ballot, to assure that there won't be a slate. It is ridiculous when someone is nominated more than once in the same category. I hope some reforms will come out of it. I got nominations, but I'm not happy with the way it turned out.

Naturally, other panelists asked Lou why he is not happy with the way it turned out (especially since, according to Marguerite Reed, Lou in his blog called current science fiction "dystopian slipstream pornography", or something like that); and more importantly, why he didn't recuse himself from the Hugo ballot, like so many people had. He said that he stood on it as a matter of principle, to not give in to the abuse that people heaped on the nominated authors.

Lou Antonelli. I think Letters from Gardner was good enough for Hugo nomination, good enough to make it on the ballot otherwise. But I said, I didn't need two nominations. And then ... I refused to be bullied and insulted. So I stayed the course. The first short story was withdrawn by the nominee, Annie Bellet, because she couldn't take the heat. When she went down, I decided I wasn't going to let that happen to me.

Justin Landon pointed out that while some nominees indeed withdrew because of the bullying they got from "people we would identify as social justice warriors", other nominated writers withdrew themselves without being bullied.

Lou Antonelli. I would rather make a decision that turned out to be wrong, but not bow down just to be popular.
Justin Landon. I have a lot of empathy for people like Lou, who worked in science fiction for many years, and one year they get a chance to get nominated for a Hugo, and I can't imaging being in their position and having to say "no". I don't want to beat up Lou. I don't envy position you are in.
The Hugo Award's Struggle for Relevance: an ArmadilloCon 2015 panel: left to right: Lou Antonelli, Marguerite Reed, and Justin Landon with a glass house in front of him, ready for people to throw stones.
Left to right: Lou Antonelli, Marguerite Reed, and Justin Landon with a glass house in front of him, ready for people to throw stones. More pictures from ArmadilloCon 2015 (37) are in my photo gallery.

If, as everybody on the panel agreed, conventions and organizations can run their awards however they see fit, it begs a question, voiced by Marguerite Reed: Why didn't Sad Puppies have their own award? Justin Landon thinks it is because Sad Puppies are intent on destroying the Hugos. So then the question is, what are we going to do about it? Justin Landon thinks we should still vote. Not voting would be worse for Hugo Awards.

Justin Landon. If you want to vote No Award in some category, go ahead. But if you vote that way in all categories, you are making a statement. But statement-making is what Sad Puppies do. {I think he says, don't do it.} If you don't want to read sad puppies, don't read them. How many people before voting for Hugos, read everything on the ballot? (Nobody in the room raised their hands.) If we vote No Award in every category this year, what will it mean for Hugos next year?

But does it matter if Hugo Awards are destroyed or made irrelevant (which is likely to happen if many people vote for No Award)? Panelists and audience think it does.

Jacob Weisman. Science fiction and fantasy genres are more fragile than realized. More books are published but fewer numbers per title are being sold. Too much acrimony will shrink fandom because of the culture war.

A fan from the audience echoed that concern. "In the past, the science fiction community always healed itself, because there was a sense that it was important to maintain the community. This time, there are many who do not feel the preservation of the community is more important than getting their agenda met. This makes this a far more problematic and "dangerous" time in fandom."

The TL;DR version: the panelists would like you to go and vote for the Hugos no matter what. Find something you like, or at least are not opposed to, in as many categories as you can, and vote, and let the Hugo Awards continue.

Monday, August 03, 2015

ArmadilloCon 2015: What You Should Have Read in 2014-2015

A bunch of authors, editors, critics and booksellers discuss their science fiction, fantasy and horror picks of the year.

Some books got a nod from more than one panelist. This year those were Emily St. John Mandel Station Eleven, Ken Liu Grace of Kings, Kim Stanley Robinson Aurora, and Neal Stephenson Seveneves.

Below are each panelist's recommended books, and his or her comments about why they are worth reading.

John DeNardo recommends

Year's Best Science Fiction: Thirty-Second Annual Collection, edited by Gardner Dozois. If you don't read short fiction, here are 3 reasons why you should read this collection. 1. "The Regular" by Ken Liu. I made a mistake of starting it late at night. it pulls you in, and you can't wait to find out what happens next. The way he does it, alternating viewpoints. The way he reveals these plot twists. 2. Rachel Swirsky "Grand Jeté (The Great Leap)". A pinocchi'esque story about father and inventor whose daughter has cancer, so he transfers her memories into a lookalike automaton. It is heartbreaking, but not for a reason you think. It is very moody and emotional. 3. Nancy Kress "Yesterday's Kin", also sold as a short novel by Tachyon. A story of first contact -- a ship landed in New York, and has been there for several weeks, and nobody is able to make contact, because the ship is surrounded by a force field. A geneticist is called to make contact. She also has family issues. The aliens affect her family and relationships.

Emily St. John Mandel Station Eleven. It is is a great character study of people. For our muggle friends, who don't like science fiction, this is a very accessible book -- it is something we could share with our friends mainstream readers. (Also recommended by Justin Landon.)

Stories for Chip: A Tribute to Samuel R. Delany, edited by Nisi Shawl & Bill Campbell.

Neal Stephenson Seveneves.

John DeNardo. One of the things I like about science fiction is worldbuidling, and Seveneves is stuffed with it. I even thought there was too much worldbuilding. I never thought I would say it about any SF. But you'll learn about orbital mechanics in a way that you'll never think you are learning about orbital mechanics.
Willie Siros. It is Stephenson's best work since Baroque Cycle. It is Moonfall done right. Bad stuff happens, and mankind doesn't step up to the plate well. It's not really apocalyptic, and it ends with a more hopeful ending than you would think halfway through the book. It is amazingly well-written, very tight, more accessible than his other books.

Andy Weir The Martian. It's all about problem-solving. John DeNardo could especially relate to it because he's an engineer by day, and engineering is all about solving problems. In "The Martian" you don't feel like you're getting a science lesson. And it is very positive, at least for someone who is stuck alone on Mars. The most the character would say is "I'm not feeling up to it today", so you know what he is going through, but it's not in your face.

Justin Landon recommends

Joe Abercrombie Half a King, Half the World and Half a War (forthcoming). Justin Landon is a sworn fanboi of Joe Abercrombie. 'Nuff said.

Bradley P. Beaulieu Twelve Kings in Sharakhai -- Middle Eastern-flavored world; protagonist is 18-year-old woman who is a gladiator and a smuggler.

Becky Chambers The Long Way to a Small, Angry Planet. It was self-published before it was published traditionally. It's like Firefly, but better. Cleverer, more charming, more real. It is social science fiction about a family living on a spaceship, and how they deal with relationships and xenophobia.

(Forthcoming) Kate Elliott Black Wolves, coming out this fall. It is phenomenal. The protagonist is 70-year-old beaten up woman, well past her prime, and has to figure out a way to protect her father's legacy, king's legacy, her grandson's legacy. Show me another fantasy that shows a capable old woman!

Robin Hobb Fool's Assassin

Rebecca Levene Smiler's Fair. Rebecca Levene used to be a Dr Who writer. It is Night Circus if G. R. R. Martin wrote it.

Sara Lotz The Three. The story is a thriller that may or may not be supernatural -- it is up to you. Four airplanes crash around the world simultaneously. Everybody dies. But on 3 of them, a young child survives. On the fourth there is apparently no such child, but there are rumors that a child might have survived. And so the rumors start that those children are the 4 horsemen of apocalypse. The book is written as a memoir of a woman reporter.

Alex Marshall A Crown for Cold Silver. Epic fantasy but without all the stuff that we hate about epic fantasy: progressive, not sexist, without all the baggage. Very aware of the tropes in the genre, and tries to do something unique.

Michelle Muenzler recommends

Darin Bradley Chimpanzee. In an economic downturn, a professor is in danger of having his education repossessed. So he tries to give it out for free, teaching people in public parks, so he could give it away before it's taken from him. But it's not legal, so he gets caught in a revolution.

Kameron Hurley The Mirror Empire -- great worldbuilding.

John Hornor Jacobs The Incorruptibles is set on an Earth a few dimensions way over there. It has one of the most frightening descriptions of Elves. They take the place of native Americans in this weird version of a western. Is it a terrifying and wonderful story. (Justin Landon added: "And it is not available for purchase in the US, except here in the dealers' room.")

Nicole Kornher-Stace Archivist Wasp is about a girl whose job is to kill ghosts, to make them stop bugging people. But instead she decides to help one of them. She gets pulled into a weird underground world, and learns the real reasons of apocalypse.

Mary Rickert Memory Garden is about old women who may or may not be witches.

Kazuki Sakuraba Red Girls -- three generations of a family, three very engrossing narratives. It spans the time from 1970s to the 2000s.

Willie Siros recommends

Ben Aaronovitch The Hanging Tree

Paolo Bacigalupi Water Knife. Published as a trilogy, but it is not. It has a discussion of the future water wars that are coming to the US as the drought continues. An asssassin arranges for water to go from one place to another, regardless of what the people who think it's their water, think. Texas is such a wasteland that refugees who are trying to get in to Colorado and Oregon, are dismissed as Perry's ramblers.

Author Michelle Muenzler gave out cookies to everyone as a way to combat the midday crash. Next to her, fan guest John DeNardo looks on.
Author Michelle Muenzler gave out cookies to everyone as a way to combat the midday crash. Next to her, fan guest John DeNardo looks on. More pictures from ArmadilloCon 2015 (37) are in my photo gallery.

James S. A. Corey Nemesis Games

(Forthcoming) Julie Czerneda This Gulf of Time and Stars. In this book, Czerneda returns to her main species universe, which was the setting of the books she wrote many years ago.

William Gibson The Peripheral. Willie said that after thinking that Gibson's best work was in the past, he was very pleasantly surprised by The Peripheral.

Peter F. Hamilton The Abyss Beyond Dreams

Robin Hobb Fool's Quest

Stina Leicht Cold Iron

Jack McDevitt Coming Home and Thunderbird (forthcoming)

(Forthcoming) David Mitchell Slade House - a much looked-forward-to novel from the author of Cloud Atlas

Michael Moorcock The Whispering Swarm

Alastair Reynolds Poseidon's Wake is part of Alistair Reynolds series that began with Blue Remembered Earth. It is set in near future and examines how society deals with space travel in various ways. A family is raising elephants to intelligence, and by the end of the third novel it seems like elephants will have surprises for us. It is somewhere between popcorn fiction and serious fiction (the same applies to James S. A. Corey Nemesis Games too).

Kim Stanley Robinson Aurora. It asks: if man in 2000 years only managed to keep things made of stone, that could last 2000 years, how are we going to keep a generation ship going? It is really well done and fabulous. Justin Landon adds: "Aurora is tols form a perspective of a developmentally-challenged person, and Kim Stanley Robinson does a very good job of putting us in this person's head."

Several forthcoming books:

John Scalzi The End of All Things

Charles Stross The Annihilation Score

Michael Swanwick Chasing the Phoenix

Robert Charles Wilson The Affinities

Gene Wolfe A Borrowed Man

Skyler White recommends

Max Barry Lexicon has system of magic that's based on language. If you're a word person, or a magic person, it is so delicious.

Elizabeth Bear Karen Memory. Steampunk-inflected western with a very interesting protagonist. It's set in a bordello. It is Elizabeth Bear's strongest novel yet. It is as conceptually interesting as her other stuff, and also has interesting relationships between people.

Karen Joy Fowler We Are All Completely Beside Ourselves.

(To tell the truth, the panelists were not completely clear if they were talking about this book -- which came out more than a year ago, so technically it does not qualify for this year's What You Should Have Read -- or about We Are All Completely Fine by Daryl Gregory. No one could remember the exact title and author of the book they were thinking of. Then a brief argument broke out whether in Karen Joy Fowler's book there was mention of aliens arriving to Earth's orbit: some of us in the audience who have read it swore up and down that there were no aliens, but one of the panelists claimed that there were maybe a total of 5 lines in the book mentioning the aliens. This made it further confusing which panelists had which book in mind. -- E.)

Max Gladstone Three Parts Dead -- magic is legal-based. There is nothing boring about legal contracts.

Ann Leckie Ancillary Justice, Ancillary Sword, and Ancillary Mercy (forthcoming)

Ken Liu Grace of Kings. Incredibly bold, incredibly global, has amazing ability to introduce you to a huge cast of characters, and they are each unique. According to several panelists -- Skyler White, Justin Landon, and Willie Siros -- it has an incredibly unique storytelling structure, a non-traditional, non-western narrative. If you read traditional Chinese novels, it fits into that structure. And if you haven't, it feels completely unique.

Christopher Priest The Adjacent. There is some kind of hop between times, that we don't really understand, but it has powerful applications. It's not hard SF, it is a character study of people who are wrapped up in this event. It is the impending feeling, that things will be terrible, but you don't know why.

Jeff VanderMeer Area X: The Southern Reach Trilogy also has creeping dread. It is set in a postapocalyptic future of the American South. This book explores not just conceivable ways in which everything can go terribly wrong, but also impact on survivors, and the ruthlessness of the quarantine. Willingness to sacrifice a few for the good of the many.

Jo Walton The Just City. Jo Walton writes dialogue for Socrates. Just City is a utopian city created by the goddess Athene. They buy enslaved 10-year-olds, who will be become the citizens of that city.

Sunday, November 30, 2014

Ted Chiang speech on lifelogging

Lifelogging is an emerging trend of recording every, or nearly every moment of your life. A simple example of lifelogging would be wearing a video recorder that records continuous video and audio of everything you see and do. Ted Chiang used this example to speculate about how lifelogging would change our society. He made carefully balanced points both for external-recording-as-memory, and against. In the end, I think, he is for it. Here are the highlights of his speech.

Even as we might think that a video of our life would never be used as a memory substitute but only as aid, it won't be so. We have been outsourcing our memory for millennia in every way we could. Ancient Greek philosophers complained that writing has corrupted people by weakening their memories; no one could recite thousands and thousands of lines of Iliad or Odyssey anymore. Since then, outsourcing of memory has only picked up pace. We don't remember phone numbers, because we rely on having them stored in our phones; we are less inclined to commit facts to memory, because we can always Google them. So if we have a continuous video of our life, we will come to rely on it instead of our internal memory; it will become, in fact, our memory.

But our memory is not a documentary; it is a web of narratives that get edited every time we remember something. Recalling past events adds layer after layer to our memories, and also distorts them. Most of our memories contain a version of events that pleases us, or lets us see our lives as having a narrative arch. Maybe it lets us to hold on to a thought that our life is getting better in one way or another -- for example, that our love for our spouse grows deeper over time; and that can be useful, because without this illusion we might not have the strength to go on. For example, in a certain study the female participants said they shared as many interests and spent as much time with their husbands as 10 years ago; but the researchers, who had asked the same question of these same women 10 years ago, noted that it wasn't true: the number of shared interests and the amount of closeness had declined.

Ted Chiang gives a speech on lifelogging

Ted Chiang gives a speech on lifelogging. More pictures from ArmadilloCon 2014 are in my photo gallery.

As we edit our memories, we are also eliminating those memories that are inconsistent with the way we see ourselves. Ted Chiang gave two examples of famous science fiction writers who had been on the giving or receiving end of it. One of them had misremembered the year of his father's death by 2 years, until fact checkers found an old obituary for his father in the newspapers, and pointed out the inconsistency. The writer provided a hypothesis for that: since his father died just a few months before he started college, and the freshman year of college was a very exciting time for him, his memory simply refused to put those two events in one year. The emotional "tone" of those events was much too dissimilar for them to have happened just months apart.

The other writer in Ted Chiang's example found out, as an adult, that his mother didn't remember beating him with a rope as a child. She denied ever doing that. Again, the way this could be explained is that back in the early 20th century (the time of this writer's childhood) it was acceptable to beat children, but a few decades later it was far less so. So his mother, thinking of herself as a good mother, unconsciously edited out of her memory the episodes of beating her child.

But if we edit out our memories in which we have hurt others, then we are not doing justice to those people; we are denying them their experiences. Similarly, the ruling elite of a nation might be denying the acknowledgement of suffering to the groups in the nation that they had oppressed. The notion of justice -- both interpersonal and on world scale -- requires that we remember our wrongdoings. This was Ted Chiang's conclusion, and this is why he thinks, after all, that lifelogging would be a step in the right direction.

Questions and discussion with the audience

Audience member 1. Forgetting can be very helpful in getting over a trauma; especially forgetting violent events. If we can't forget anything, if our video is there, we might be tempted to go back to those traumatic moments and never make progress in healing.

Ted Chiang responded that these days researchers are working on medicines that help us selectively forget, allowing one to heal from PTSD. (This doesn't quite address the question that selective forgetting won't do you much good if you'll be tempted to go back and revisit the record of violent events. -- E.)

Audience member 2. A certain amount of forgetting goes a very long way in maintaining good relationships with your relatives. When you meet and talk with them only a few times a year, it helps if you had forgotten things they did that made you very angry, or hurt you.

Ted Chiang responded that it would be even better if that person remembered how they wronged you, and be motivated not to do it again.

Audience member 3. What if having a video of all moments of our life would prompt us to live our life as if we are creating a story? When I was in college I deliberately went and did things, had experiences, to have something to write home about. Friday afternoon would come and I would think, oh, I haven't done "anything" this week yet (out of the ordinary) -- I should go be interesting for a couple of hours now!

Ted Chiang responded that this wouldn't be the same as how people these curate their Facebook profiles, posting only those activities that form an image they like. If we don't have to worry about anyone seeing our video, we won't be motivated to appear a good person on the tape.

That last statement hinged on a pretty big assumption, which Ted Chiang stated upfront at the beginning of his talk: that privacy and security issues had been solved, and we don't have to worry about our life record being viewed by the eyes it wasn't intended for. I think Ted Chiang made this assumption only to keep the scope of discussion manageable, not because he thought it would be easy. Still, it was near impossible to discuss lifelogging-as-memory without getting tangled in the issues of privacy, as is evident from the audience's questions.

Audience member 4. What happens when a hacker hacks into the record of your memories? Surely it will happen, because any and every technology that has ever existed has been hacked into.

Ted Chiang. Even if hackers modify your own memories, that wouldn't be the end of the world for you, because any kind of public event would be recorded by at least some other people. So you could compare your memories with theirs, and restore the truth. (This doesn't address the cases when the event is private and nobody else has a record of it; or what if a hacker makes your most private moments public? Or what if you don't even know your memories were tampered with, and thus have no reason to compare them with others' memories? -- E.)

Audience member 5. If everything you do is recorded in the continuous video of your life, then any movie you've seen will also be in it. So who will own that part of the video -- you or the movie studio? If you want to rewatch a movie, would you need to pay to get access to your own memories? If you don't pay, is it piracy?

Ted Chiang pointed out that movie studios are already dealing with similar issues even today, because you can download a movie from the torrents as soon as it comes out on the screen. This won't be that different.

Other audience members asked more questions without good answers. For example, 5th amendment. Police can confiscate your computer records, video records, or any kind of records if they are needed in an investigation of a crime; but if the recording is literally considered to be your memory, they might not have a right to confiscate it, as that would be the same as forcing you to speak. How would the laws, or constitution need to be rewritten in such a case?

Thursday, November 06, 2014

Book Review: James Cambias "A Darkling Sea"

This book was praised by more than one of my acquaintances who are not writers. It is an important distinction. I have been increasingly disappointed by new books recommended by science fiction or fantasy writers, and have come to suspect that those books are hyped because of something other than good storytelling. But I know that if my nonwriter friends enjoy a book, it must have an engaging plot and characters; and if they are techies, it probably has well thought-out, science-based (or at least systematic, even if magic-based) worldbuilding.

"A Darkling Sea" has a lot of that. The worldbuilding is superb, and it has plenty of intrigue, as its human protagonists deal with not just one, but two very different alien races. Yet I was ambivalent about this book. It left me with a strange feeling that the majority of the plot was just the setup for something that didn't quite happen. But it is not true, of course: the plot arch arched satisfactorily, and was properly resolved in the last couple of chapters. So it must be that my expectations were different.

While this book shows a clash between two technologically advanced races, it is positively NOT a space opera. The action is carried out guerilla-style at the bottom of the sea on a distant planet. There, a group of human researchers observe Ilmatarans -- underwater, bottom-dwelling intelligent beings -- until another alien race, Sholen, tells them to quit or else. It is really about a conflict between human and alien psychology. But it rather lacks intensity and sharpness of psychological conflicts that such a claustrophobic setting could -- or should -- provide. Then again, my measuring stick for similar themes -- humans living in close quarters, isolated from civilization, facing the unknown -- is Peter Watts' "Blindsight". Few novels live up to the intensity of "Blindsight", so perhaps it's not fair to measure "A Darkling Sea" against it.

Still, when the driving force of the plot is a conflict between human and alien mentality, the book needs better characterization. As it is, the characters in it (the humans at least) are likeable, but bland. There aren't any strong, quirky characters through which such a conflict could manifest.

The worldbuilding in this novel, however, is excellent. It's not an easy feat to create two credible, different, nonhumanoid races, but this novel did just that. Between the Ilmatarans and the Sholen, Ilmatarans are definitely a more completely fleshed-out civilization. The name Ilmatarans is the only thing incongruous about it, because this name brings to mind J. R. R. Tolkien's Middle Earth. That's unfortunate, because the lobster-like, underwater-dwelling Ilmatarans couldn't be more unlike Tolkien's elves. Other than that, their culture, mentality, customs, even speech idioms follow from the physical conditions of their world. Living at the bottom of the ocean, they don't have eyes (which would be of no use in the perpetual darkness), and instead perceive the world and communicate via echolocation and taste. As with every alien species, a writer has to straddle a careful line between making them boringly human-like, and making them too alien for us to understand. With Ilmatarans, the author fell back on a tried-and-true method of making them a pre-industrial race, akin to a medieval, feudal society on Earth; they were starting to engage with the world scientifically, but their societal structures were quite primitive. That way, as alien as they are, they are still simple enough for us to understand.

What especially intrigued me about Ilmatarans was their number-speech. They assigned non-obvious semantics to numbers, and considered not just factorization of a number, but also its decomposition into a sum of integers; from that they inferred something about a person's character. Too bad it didn't play a big part in the book; I would have liked to know more about that. Even though there is no scientific basis for such a cabbalistic approach, it could tell us a lot about a culture.

But an even more interesting race was Sholen, the spacefaring civilization that clashed with humans over the sphere of influence. They were a spaghetti ball of intriguing contradictions. They had a self-proclaimed "hands-off-the-universe" attitude, which meant they wanted uncontacted alien races to remain so, and especially to stay free of influence of humans -- yet they enforced their peace philosophy rather aggressively. Their social structures and modes of interaction were a bit like bonobos', but they were nothing like the friendly, frolicky apes. My impression of them was more like hulking, menacing, six-limbed monsters. Despite all that, Sholen did not seem to be a poorly thought-out heap of inconsistencies, but a complex race with its own internal logic.

While the novel was enjoyable, it wasn't exactly groundbreaking, and that's why I will only give it 4 stars. I like to reserve 5 stars for books that do something innovative, such as develop an original scientific or philosophical idea. (Yes, like Peter Watts "Blindsight"). The setup, storytelling, mood, and characters of "A Darkling Sea" strongly resemble classical science fiction. An comparison that comes to mind is "Dragon's Egg", which also has primitive but smart creatures living in an extreme environment (super-high gravity of a neutron star). It is classical in the sense that science and technological resourcefulness takes precedence over character depth; the human characters in the book are not especially interesting. But the book is at least modern in the sense that female and male characters are equal in skill and courage.

I also have one minor beef with this book. The ending reveals a surprise whose impact can only be fully understood if you kept track of tiny, insignificant pieces of information scattered throughout the book. At least that's my guess. When I read the last sentence, I thought "huh"? What's that have to do with anything? Is the object mentioned in there referenced anywhere earlier in the book? If it was, I quickly forgot it (it was no more than a minor detail), and I don't even know how far back I would have to go in the book to find earlier references. Or is there an implication that this object could only have been left behind by yet another, ancient, long-lost civilization? If so, it must be a setup for a sequel, because this object played no role in the book that I could tell. Luckily, the plot had already been wrapped up at that point, so the ending was just a bonus "huh".

Tuesday, September 23, 2014

ArmadilloCon 2014 interview with Ted Chiang

Jayme Lynn Blaschke interviewed Ted Chiang, one of the two ArmadilloCon 2014 writer Guests of Honor. They talked about linguistics and time travel, story length and starting from the end, and obsolete scientific theories as story material. Here is a condensed version of the interview.

Why, despite the plans to make "The Story Of Your Life" into a movie, Ted Chiang does not consider himself a Hollywood bigshot.

Until the cameras start rolling, there is no guarantee that the movie will get made: many movies had been canceled at the last minute.

About the process of writing "The Story of Your Life"

Originally Ted Chiang wanted to write a story about someone who knew the future, but was unable to change it. What sort of emotions that person might experience, knowing that both good things and bad things were going to happen, and not able to do anything about it? Linguistics came into the story later, as Ted Chiang tried to figure out how to grant this protagonist ability to know the future. Meditation or mind-altering drugs didn't seem very interesting possibilities. Then he remembered Sapir-Whorf hypothesis that language determines our perception of the world. The notion of being able to know the future by learning an alien language seemed very interesting, and only then the story became about linguistics.

At that time he didn't know a lot about linguistics, so he spend the next several years reading books about it and working on his writing, so as to become a good enough writer to tackle this story.

More about his writing process

He first comes up with the ending for a story, and works backward from there to determine what needs to happen. That way the stories don't "get away" from him like they do for many other writers who work without a plan.

About story length, and the [un]likelihood of writing a novel

Though he turned down a Hugo award for the story "Liking What You See" because it was too rushed (under the publisher's deadline he could not expand that story into the length he originally wanted it to be), Ted Chiang is content with how it turned out, and has no plans to rewrite it. He doesn't write novels, because each of his stories takes up only as much length as is required to develop the idea of the story. That's not to say he wouldn't write a novel if he ever got a novel-length idea; it just hasn't happened.

And while some audience members thanked Ted Chiang for "resurrecting" short story, he doesn't think short story is on the way to become a commercially viable art form. Though e-readers enable people to read in short bursts, they haven't lead to short story renaissance.

Ted Chiang (left) and Jayme Lynn Blaschke

Ted Chiang (left) and Jayme Lynn Blaschke. More pictures from ArmadilloCon 2014 are in my photo gallery.

About Ted Chiang's early writing days

His first story, written at the age 15, was an disaster-in-space story about an attempted rescue of astronauts in a spaceship. Even so, the adventure stories he wrote were science-based. One of them involved research the wavelength of gamma ray emitted when electrons collided with positrons. In other words, as Jayme Lynn Blaschke pointed out, he was writing for Analog.

What influences helped his transition from adventure stories to more philosophical ones?

John Crowley, Gene Wolf, and Ed Bryant. Ted Chiang highly praised Ed Bryant as a currently forgotten author who won a couple of Nebula awards in the 80s for his science fiction short stories. He especially recommended Bryant's story collection "Particle Theory". Ted Chiang credits him for opening his eyes to the ways you could use science as a metaphor for human experience.

Ted Chiang's story "72 Letters" where the concept of preformation, meaning that all living beings contain microscopic, but fully-formed versions of their future children, happens to be true. What appeal do obsolete, discredited scientific theories hold for Ted Chiang, at least as story potential?

People believed in those ideas because they were not self-evidently false: it required some experimental results for them to be discredited. So you could imagine a universe where they were true. As far as preformation goes, a human being or any organism is incredibly complicated, so it's not obvious that it could come from a single cell like an ovum. We still don't completely understand the details of how a fertilized egg becomes a human being. So a theory that we are fully formed on a scale too small to see is not unreasonable; though if you take it to its logical conclusion, that Adam and Eve's sperm and ova contained the entire human race in them, it starts to seem less plausible. In any case, you have to perform the right kinds of experiments to determine that it's wrong.

Ted Chiang is also interested in what are the things we take for granted now, not knowing that they are based on an incorrect scientific theory.

Sunday, September 30, 2012

Center For Inquiry fiction book club fall 2012-spring 2013 reading list

Update: we will have a meeting in November 2012 -- see below.

Here is the list of books we'll be discussing in the next few months in the CFI Austin fiction book club.

October 2012: Nancy Kress "Steal Across The Sky"

From amazon.com:

"The aliens appeared one day, built a base on the moon, and put an ad on the internet:

"We are an alien race you may call the Atoners. Ten thousand years ago we wronged humanity profoundly. We cannot undo what has been done, but we wish humanity to understand it. Therefore we request twenty-one volunteers to visit seven planets to Witness for us. We will convey each volunteer there and back in complete safety. Volunteers must speak English. Send requests for electronic applications to witness@Atoners.com."

At first, everyone thought it was a joke. But it wasn't.

This is the story of three of those volunteers, and what they found on Kular A and Kular B."

November 2012: Mark Twain "Mysterious Stranger". In this Mark Twain's last, unfinished novel, a young Satan comes to a remote Austrian village. He claims to be able to foresee the future and informs the group of unfortunate events that will soon befall those they care about. The boys don't believe Satan's claims until one of his predictions comes true.

December 2012: Octavia Butler "Parable of the Sower"

From amazon.com: "When unattended environmental and economic crises lead to social chaos, not even gated communities are safe. In a night of fire and death Lauren Olamina, a minister's young daughter, loses her family and home and ventures out into the unprotected American landscape. But what begins as a flight for survival soon leads to something much more: a startling vision of human destiny... and the birth of a new faith."

January 2012: Michael Bishop "Close Encounters with a Deity" - a story collection.

From amazon.com: "The book's unifying theme is man's concept of the Deity. Bishop's stories intermingle humor, horror, and awe in a manner similar to Vonnegut."

February 2012: Jonathan Strahan, editor, "Godlike Machines"

From goodreads.com: "In science fiction, nothing says sensawunda like a Big Dumb Object--a colossal, extremely powerful machine of unknown purpose and origin. It's that feeling that editor Jonathan Strahan was after when he asked six of today's finest authors to write for Godlike Machines. And they succeed brilliantly!"

March 2012: Greg Egan "Clockwork Rocket"

From amazon.com:

"Set in another universe where light does not travel at a constant speed but instead has a velocity that depends on its wavelength, Clockwork Rocket recounts the personal life journey of an inhabitant in this fictional universe."

"Alongside a taut and well imagined story set in a very alien world - complete with a sympathetic range of characters and a well imagined society - Greg Egan develops an entire alternative physics. This isn't just done in a hand waving way, it is properly worked out. The story of Yalda, the scientist who is the main protagonist, is also the story of the discovery of "rotational physics" in her universe, of the implications of that, good and bad, for her planet, and finally - in the construction of the rocket of the title - the story of the action she takes to safeguard that world."

Monday, August 27, 2012

Book review: Charles Yu "How To Live Safely In A Science-Fictional Universe"

seudo science fiction with a certain melancholy beauty -- that's what we concluded about Charles Yu "How To Live Safely In A Science-Fictional Universe" at the Center For Inquiry book club discussion. It is pseudo science fiction, because while it has science fiction trappings, most of it is author's exploration of how he feels about things. It felt self-indulgent, and for a good reason: the protagonist is the author himself, or at least his namesake. That's not to say that many of us wouldn't be able to identify with the protagonist sometimes. He is a technician who travels in a time machine, and attends the most heartbreaking moments of people's lives. It also means that he doesn't spend almost any time in the present -- most of his life is spent outside time, and he is a stranger in his own era. His capsule, barely big enough to stretch out, is completely bland and featureless. I was all the more surprised that I found its description compelling. Something about it resonated with me. Could it be because many of us spend most of our days in similar blank rooms, a.k.a. office cubicles, performing actions that are, in a way, outside of time? Their impact on other people is softened by many layers of infrastructure, depersonalized, not traceable directly to us. So it's not hard to identify with the protagonist's alienation. I found his father, a quietly brilliant, stoic, underappreciated Asian engineer, to be a more vivid character than the protagonist himself. But that may be just because I identify with an immigrant engineer's experience. That said, the explorations of the character's psyche did not make up for plot shortfalls. It seemed that the author intended for the time-travel mechanism to make sense (it wasn't just a vessel for psychological exploration), but in that sense it failed. At the end, we are expected to believe that the protagonist resolved a deadly time loop he accidentally created. But the ending is so ambiguous that we didn't understand what was going on. It's as if the author tried to hand-wave over the fact that no real resolution was possible. This book has a few interesting science-fictional tidbits, which I can't really call ideas, since they are way too undeveloped. For example, what does it mean to time-travel by grammatical tenses? Or what does it mean to live in a universe that's only 93% installed? Each of those ideas could be tantalizingly interested, if properly developed, but in the book they are just throwaway sentences. One of the book club members said that while he enjoyed the book enough, he wouldn't recommend it except to someone who really wanted a "different" kind of science fiction. This book may be best enjoyed for its melancholy mood, an exploration of a father-son relationship, and a tragedy of a brilliant, but modest person without an ability to sell himself well (the father). That last plotline is where the book really shines.

Wednesday, August 01, 2012

ArmadilloCon 2012: What You Should Have Read in 2011 - 2012

A bunch of authors, editors, critics and booksellers discuss their science fiction, fantasy and horror picks of the year.

It's worth noting which of the books or authors got a nod from more than one panelist. This year those were N. K. Jemisin The Kingdom Of Gods, Kameron Hurley God's War and Infidel, Will Macintosh Soft Apocalypse, and anthology Welcome to Bordertown.

Below are each panelist's recommended books, and his or her comments about why they are worth reading.

Willie Siros's recommended books

Margaret Atwood In Other Worlds: SF and the Human Imagination

N. K. Jemisin The Kingdom Of Gods and The Killing Moon. -- N. K. Jemisin is one of the most amazing new writers. She has strong ties to Africa, and writes in non-Western ways. The structure of her novels are so amazingly different than what you find in American fantasy.

Ian McDonald Planesrunner -- When someone decides, after a lifetime of writing hard SF, to write a teen novel, it's interesting to see how he's trying not to talk down to the reader. We, adult readers, have seen many science fiction and fantasy tropes, such as alternate realities, but teens might have not seen them yet, and require a different approach.

Neal Stephenson REAMDE".

Bruce Sterling Gothic High-Tech -- short story collection.

Francis Spufford Red Plenty -- Willie called it "my epic fail of the year", though it wasn't clear to me why, because his comments about this book were quite flattering. It's a novel about Soviet space race, and it's not clear whether it's science fiction -- maybe not, says Willie. It could be secret history. In any case, having lived through American space era, it's very interesting to read the same events from the other side. We in the US thought American space program got it wrong, but Russians also thought THEY got it wrong, and had to go back to the roots of Marxism to start over.

Terry Bison Any Day Now is another big secret history novel. It starts out with the usual version of the 1960s, but then you discover that Kennedy doesn't die, and the story drifts just further and further from our history. Willie says that he was amazed by Terry Bison's sense of inertia in history. It's hist best novel since Talking Man.

Laird Barron The Croning -- a horror novel.

James S. A. Corey space series Caliban's War -- American writers trying to retake space opera from Alastair Reynolds and Peter F. Hamilton and other Brits.

Kim Stanley Robinson 2312. You can see it as a sequel to Mars trilogy, or not, as you wish. But, according to Willie, it is Robinson best novel since Mars.

Charles Stross Apocalypse Codex is the 4th Laundry novel, and it's as strong as the 1st one. Much stronger than the 2nd and 3rd.

Jeremy Lassen's recommended books

Lauren Beukes Zoo City -- She is an amazing writer from South Africa. She got a handle on the non-western-European future science fiction.

Mark Lawrence, Prince of Thorns -- Really weird fantasy series. The setting makes it unique.

N. K. Jemisin The Kingdom Of Gods, and the rest of her The Inheritance trilogy.

Jo Walton Among Others.

Michael Swanwick Dancing With Bears

Greg Egan Clockwork Rocket, a start of a new trilogy, and no, it's not steampunk.

Kameron Hurley God's War -- another real science-fiction book. Incredibly unique setting, a cast of characters that features strong women taking control of their hyperviolent world. The wold is ruled by a Queen, all men are sent off to war. So it's just old men, and women, and children running this world.

Will Macintosh Soft Apocalypse -- very depressing, a gut punch of a book. It looks at Apocalypse as something that happens not with explosions, but with lowered expectations, something that happens when unemployment reches 40% and Walmart runs out of stuff. The protagonist's life just gets grimmer and grimmer. It's a hard book to read.

Rob Ziegler Seed. It's similar to Paolo Bacigalupi's "Windup Girl", but with faster pacing, and with more likeable protagonist. Rob and Paolo live in the same small town, so it's an interesting bit of serendipity.

As an aside, someone from the audience recommends Paolo Bacigalupi's Shipbreaker as being much better and with nicer characters than Windup Girl.

Rudy Rucker Jim and the Flims, in which Rudy Rucker comes to terms with his own mortality.

Geoff Ryman Paradise Tales, short story collection from Small Beer Press.

Holly Black and Ellen Kushner, ed. Welcome to Bordertown, an anthology. They rebooted the Bordertown anthologies, which were urban fantasy before urban fantasy was created, and got a whole new cast of writers.

Jeremy Lassen, Bill Parker, Willie Siros, Michelle Muenzler, and Bev Hale on What You Should Have Read in 2011 - 2012 panel.
Jeremy Lassen, Bill Parker, Willie Siros, Michelle Muenzler, and Bev Hale on What You Should Have Read in 2011 - 2012 panel. More pictures from ArmadilloCon 2012 are in my photo gallery.

Bill Parker's recommended books

Ernest Cline Ready, Player One. Ernest Cline is native to Austin. This science fiction novel is set in 2044, and society has changed quite a lot. One character is a game designer from the 80s, and there are lots of references to 80s music, movies, and culture. It takes you through the game industry in little bits and pieces that are plugged into the story. By 2044 a game company has shut down, and opened up with a new product they called Oasis -- a virtual reality world. Kids don't go to school anymore -- they study in the Oasis. People don't go to the office, they work in the Oasis. One character lives in a trailer park, where trailers are stacked 30-high. The gist of the story is that the creator of Oasis has died, and left 3 Easter eggs for people. Who finds them, becomes rich. The story is about people who are looking for eggs, while an evil corporation wants to find them and make everyone pay for Oasis (which is currently free).

Some readers from the audience mentioned that there are also 3 Easter eggs in the book, and whoever finds them can win a prize.

Michelle Muenzler's recommended books

Haruki Murakami 1Q84 -- a very long and intricate story, that's very Murakami in the sense that every detail in it is very important. You can't just skip over chunks of text, because every detail is needed in order to understand what happens.

Johnathan L. Howard Johannes Cabal The Detective.

Ayize Jama-Everett The Liminal People -- a novel about underworld people who have powers, but you wouldn't consider it a superhero novel. It's a bit more gritty, realistic than most superhero novels Michelle has read. The protagonist's daughter disappears, he tries to track her down, and gets entangled with people with horrible powers.

J. M. McDermott When We Were Executioners

Martha Wells The Serpent Sea and The Cloud Roads -- very creative, vast world-building. Exploration of crazy-ass alien cultures clashing and interacting.

Jason Heller Taft 2012 -- hilarious, brilliant book. President Taft disappears, and 100 years later he wakes up on the White House lawn. The book is extremely fast-paced. It has Twitter conversations discussing his political views.

Kameron Hurley Infidel

Will Macintosh Soft Apocalypse

John Love Faith -- a massive battle, a dance between two spaceships, really fun.

Stina Leicht And Blue Skies from Pain

Rose Lemberg, ed. The Moment of Change -- a speculative poetry anthology. Very story-oriented poetry, resembles Year's Best SF anthologies.

Bev Hale's recommended books

Kage Baker Best of Kage Baker.

Holly Black and Ellen Kushner, ed. Welcome to Bordertown.

Pip Ballantine and Tee Morris Phoenix Rising -- steampunk.

Jim Butcher Ghost Story.

Rachel Caine Bite Club and Last Breath -- the last of her two Morganville Vampires books.

Gail Carriger Heartless

Kendare Blake Anna Dressed in Blood

Laura Anne Gilman Pack of Lies

Laurie R. King The Pirate King

Seanan Mcguire Discount Armageddon

Kim Newman, Professor Moriarty: The Hound Of the D'Urbervilles -- a spin-off of "Further Adventures of Sherlock Holmes" series, where Sherlock Holmes got retired, got married, and still doing stuff. This book has Professor Moriarty as protagonist.

Tim Powers Hide Me Among The Graves

Cherie Priest Hellbent

Ransom Riggs Miss Peregrine's Home for Peculiar Children

John Scalzi Fuzzy Nation and Redshirts -- Bev Hale liked Fuzzy Nationbetter than she liked Redshirts, though both were fun.

F. Paul Wilson Nightworld

George R. R. Martin and Gardner Dozois, ed. Down these Strange Streets -- an anthology.

Willie's recommendations of books that are very new, or are yet to come out

Neal Stephenson, Greg Bear, and a couple of other authors The Mongoliad -- because Neal Stephenson has an obsession with swords.

Mark Teppo Sinner: A Prequel to the Mongoliad, and Earth First

Terry Pratchett and Stephen Baxter The Long Earth. Someone said it would be funny if Terry Pratchett wrote the science in that book, and Stephen Baxter the characters.

Iain Banks Stonemouth and Hydrogen Sonata. The latter revels bits and pieces from the beginning of the Culture.

Robin Maxwell Jane: The Woman Who Loved Tarzan -- a Tarzan novel written from Jane's point of view. Burroughs estate gave Robin Maxwell, an award winning historical writer, access to Burroughs notes about Tarzan's backstory.

Friday, November 11, 2011

ArmadilloCon 2011: The Singularity panel

Singularity is commonly associated with emergence of strong artificial intelligence, and the panelists don't think strong AI is any closer now than it was at the time this topic was discussed on ArmadilloCon panels of the past. Or 30 years ago. Or ever. Singularity is certainly no closer than when Vernor Vinge debated it at ArmadilloCon 2003, or Charles Stross at ArmadilloCon 2006. Moreover, some panelists disagreed whether moderator John Gibbons' question "What do you see as a fundamental block towards strong Artificial Intelligence?" is even the right question to ask. They disagreed whether it is possible to bring an AI into being by programming it.

This was a well-reasoned analysis of common Singularity tropes.

Trope 1: Singularity will come from the emergence of strong AI

Bruce Sterling admits that he used to find the idea of strong AI seductive, but doesn't see any evidence of it emerging any time. More, he doubts whether the products of intelligent mind, such as new ideas or inventions, can be attained computationally. "I know many very intelligent people, and they don't reason stuff out of the first principles," said Bruce Sterling. It certainly doesn't "feel like" creative insights come to us algorithmically. And if flashes of insight can't be simulated by a Turing machine, then they are not achievable by a computer. "Computation is not like human intelligence," says Sterling. "It's like mathematics. You could say, mathematics will one day overtake the human brain! But that would be a category error."

Left to right: authors Alexis Glynn Latner, Adrian Simmons, John Gibbons Left to right: authors Alexis Glynn Latner, Adrian Simmons, John Gibbons at the Singularity panel. More pictures from ArmadilloCon 2011 are in my photo gallery.

Bruce Sterling thinks collective intelligence is more interesting than artificial intelligence. When you are starting a company, would you hire HAL 9000, an intelligent machine who never sleeps, or a bunch of engineers who use Google, he asks. Google would immediately defeat HAL. He didn't answer another panelist Adrian Simmons' question if it wouldn't be even better to hire a HAL who uses Google.

Then Bruce Sterling left the panel to go help his daughter who was at the other end of town, adding "Real futurists have children!"

Trope 2: Moore's law will inevitably lead to strong AI

Both the panelists and the audience doubted whether the advance of AI has hardly anything to do with Moore's law. We already have extremely powerful computers for extremely complex weather and economic simulations, but you can't speak about their IQ.

Trope 3: Sentient computers care about the existence of humankind one way or another

Would we even want a sentient machine? John Gibbons reminds us that Charles Stross, author of Singularity-themed novels, asked this question in a recent blog post. What do we need a sentient machine for? While we conceivably might want an intelligent computer to run a spaceship on a long mission, like HAL 9000, in general there's not much advantage to sentience in a software program, argued John Gibbons. And it raises a huge batch of ethical questions. Using a genetic algorithm to derive sentient software? You're committing genocide along the way, because you're killing off versions that don't meet your goals.

Left to right: authors Katy Stauber, Marshall Ryan Maresca, and Bruce Sterling Left to right: authors Katy Stauber, Marshall Ryan Maresca, and Bruce Sterling at the Singularity panel. More pictures from ArmadilloCon 2011 are in my photo gallery.

Even if a sentient AI is benevolent to the humankind, it can't be expected to do what humans would like it to do, Adrian Simmons pointed out. You may ask it how to make better gadgets, but it will instead turn around and ask you personal questions, because it might feel it's human now, and wants to experience a human perspective of the world. (Even that, I should say, is a bit human-centric, if not to say myopic. An AI might not be interested in learning from humans, since by necessity it would develop its own way of learning about the world: else it would not be an AI. It is a common trope in science fiction that a robot or AI yearns to know what it is like to be human, but I think we as humans overestimate our interestingness to the machines. We absolutely can't expect them to take an interest in our problems, let alone serve us. -- E.)

Trope 4: Singularity will come from augmentation of human brain

But machine intelligence is not the only way for Singularity to come about. Bruce Sterling said: increase of a metabolic efficiency of certain regions of the brain (that are dedicated to higher functions), and it will feel like Singularity. Our brain is very inefficient -- the biggest parts of it are dedicated to such functions as walking. So an increase in efficiency of higher reasoning parts of the brain could bring about enormous changes for the humankind. Science fiction has already addressed something similar, such as repurpose visual cortex to do other computations, an audience member pointed out.

Trope 5: Singularity will come from uploading a human personality to a machine

The panelists doubt whether that will ever be possible, because it seems like such a stretch between the chemistry of "wetware" and computational substrate. Here, too, science fiction has shown how horrific unintended consequences of this can be -- case in point is Greg Egan's story "Learning To Be Me".

Trope 6: Singularity will come from the web "waking up"

A person in the audience asked: if we organize semantic connections on the web, will the web "wake up"? John Gibbons reply was what I would have said too: becoming conscious requires a model of self. And it's hard to see how that model of self would emerge simply by organizing semantic connections on the web.

Friday, October 14, 2011

ArmadilloCon 2011: Imagining a future without fossil fuels

Defining the peak oil is not simple

As we may have already reached peak oil, the point in time when the maximum rate of global petroleum extraction is reached, it is timely to have a panel like "Imagining a future without fossil fuels". But before we can ask science fiction writers what will happen once oil production enters inevitable decline, we have to take into account that the definition of peak oil in itself, err, slippery. The question of whether there is a peak oil should be, "peak oil at what price", says Paolo Bacigalupi, whose novel "The Windup Girl" is set in post-fossil-fuel future. At $90/barrel, it becomes profitable to convert shale into oil. So when cheap oil becomes unavailable, people start extracting oil from reserves that were harder to reach. Since petroleum is used for much more than fuel, but also for plastic, fertilizers, and many other things, at some point oil will become too valuable to burn as fuel. We'll have to prioritize what we'll use fossil fuels for -- driving versus plastics, food, or fertilizers.

Matt Cardin, Paolo Bacigalupi, Jayme Lynn Blaschke, and David Chang

Matt Cardin, Paolo Bacigalupi, Jayme Lynn Blaschke, and David Chang. More pictures from ArmadilloCon 2011 are in my photo gallery.

With the tendrils of fossil fuels going into so many things, we should not imagine that a world with a different energy mix will look just like this one, says Matt Cardin. Our supply chains won't look the same. For example, industrial farming will change, because Dow Chemical produceds a lot of fertilizers from petrochemicals, and it will be too expensive to do that.

The question is, does the future have to go apocalyptic?

Will it look like the Little House of the Prairie?

The panelists sure hope the technological society won't go away completely, and we won't have to return to a lifestyle of 19th century farmers. Katy Stauber's mixed visions of the future do include farmhouses, albeit still connected to the internet. That way we could still play World of Warcraft while riding our bikes to power our computers. It seems she doesn't mind returning to pre-technological civilization, as long as enough technology is preserved for us to have some fun.

David Chang, Katy Stauber, and Matthew Bey

David Chang, Katy Stauber, and Matthew Bey. More pictures from ArmadilloCon 2011 are in my photo gallery.

David Chang and Paolo Bacigalupi hope that the tools and technology we have these days will make it possible for ordinary people to innovate solutions for post-fossil-fuel future. Bacigalupi has faith in people like a guy down the street from him, who is working on a biogas composter in his garage.

We could save lots of energy just by wasting it less, the audience points out. House builders used to (or still do) put the air conditioning unit in the attic, where it gets 150 degrees in summer. With energy costs rising, they might soon become smarter about that.

What is the next promising power source?

It is solar? Though it's commonly viewed as being cost-ineffective compared to coal, solar power costs about the same as coal, says Jayme Lynn Blaschke. The reason for discrepancy is that when those comparisons are made, commercial solar panels are lumped in with retail, and that drives their cost up. But there isn't such a thing as "retail" coal power.

Is it wind? Jayme was driving on Texas coast and saw four times as many wind turbines as last year. Matthew Bey said he knows a wind power entrepreneur -- a wind wildcatter, as it were -- who invests in this form of energy, and he's not doing it to make the planet green. This investor had a Whataburger franchise before he decided to make money off wind power. So anecdotal evidence shows that the good old free market is starting to see alternative energy as viable.

What are the promising modes of post-fossil-fuel transportation?

Could it be Shweeb, which David Chang describes as a human powered transportation system resembling a bicycle on tracks. You can go long distances on it, because there is little friction.

Could it be buses on stilts, or straddling buses, the kind that have been developed in China? (Here's a New York Times article on that.) While the buses don't do away with fossil-fuel (they are only partially solar-powered), their capacity to carry 40 times as many people as a regular bus should present significant energy savings.