Wordbits

Extinction by Mark Alpert

After reading Robopocalypse last summer, I suspected Extinction might be too similar, too soon. It proved to be quite different: rather than an anthology of vignettes connected by a common theme of a robot uprising, Extinction focuses on fewer characters and a more subtle takeover. However, those characters prove to be unnecessarily dense in what they bring to the story. Here's our cast:

• A man with a Terminator-style prosthetic arm that can be swapped out for a machine gun.
• A scientist intent on achieving immortality by uploading his memories to a computer.
• An NSA agent who is blind except when wearing special glasses that can beam images, including in the infrared spectrum, directly to her brain.
• A sentient computer that can assimilate humans into its network through a crude lobotomization process.
• A hacker working for WikiLeaks.

Any one of those gimmicks would be enough to tell a tale, but Alpert crams them all into one book. He seems so excited by each character that, especially in the beginning, he alternates among the various points of view regularly, with some chapters lasting only as long as two paragraphs.

Although the story is reasonably plotted and paced, there are other aspects of its recounting that seem a bit forced. Some of the character development didn't strike me as natural, with dialogue-driven flashbacks hammering us over the head with a protagonist's motivations. Some of the American military interactions also didn't strike me quite right, though I confess I have no professional background or research to suggest it should be otherwise. Though the hacker character? The most hacking we see her do is looking for a sticky note with a computer's login password.

Extinction offered a unique take on the Singularity, one in which a sentient computer program, one somewhat human in its emotions yet Borg-like in its capabilities, tries to invoke its own Judgment Day. But the overall theme is general enough that there are better alternatives to this robot apocalypse.

My rating: 2 of 5 stars

Here's a remix that came out a few months ago but is still fun to hear. PBS Digital Studios conscripted John D. Boswell, aka melodysheep, to take footage from LeVar Burton's Reading Rainbow and produce a music video. The result is "In Your Imagination":

Although this remix is one of the best collaborations yet between PBS and Boswell, it has fewer than a million hits. Why not more love? I purchased the single on iTunes and still enjoy hearing it. Drop a dollar on this worthy tune, and be sure to check out remixes of Bob Ross and Mister Rogers, too!

Celebrity commencement speakers are often as known for their art as they are for being themselves — bigger-than-life personalities who have become famous for being famous. In life, I've heard graduating classes addressed by Meryl Streep and Whoopi Goldberg; online, I've enjoyed the speeches of Ellen DeGeneres and Steve Jobs. All were excellent, but few spoke specifically to my craft: writing. Perhaps writers are more anonymous than other celebrities, letting their works speak for themselves. After all, an actor's living requires felicity of appearance and presentation, making them natural choices for speakers, whereas writers are better known for being glib of pen than of tongue.

But when your school is committed to respecting all arts, visual or written, then the scope of your speaker candidates widens to encompass so many talented artists. Such was the case this past spring at The University of the Arts in Philadelphia, Pennsylvania, USA, when they recruited the insightful and accomplished Neil Gaiman, fiction author and master of multiple media. His speech to the graduating class was not a typical "rags to riches" story of how he became a successful writer and you can, too! Rather, Gaiman went beneath the surface, employing metaphor and allegory to reflect on the significance of his experiences and the lessons learned or ignored. His thoughts on being a writer are inspiring not only to me, but to artists of any form, making this 20-minute video worth the time of anyone whose creative flame could use some fanning.

My great thanks to fellow wordsmith and book club member Michele DeFilippo for sharing this video after we read American Gods.

World War Z: An Oral History of the Zombie War
by Max Brooks

I first heard about World War Z upon its release six years ago. Since then, its name has continued to pop up, including last year when it ranked #54 on NPR's list of the best fantasy and science fiction novels of all time. Some friends and I finally decided to read it together. As is typical for us, we came to a similar opinion of the book; but surprisingly, it wasn't the popular one.

Author Max Brooks presents an oral history of a now-past war against a zombie infestation. The world is slowly recovering from a global outbreak of a zombie plague, transmitted though the usual bites and scratches of the undead. Our main character, if there is one, is a journalist who has taken it upon himself to record the experiences and reflections of the war's survivors. Each chapter is presented as a monologue or, where prompting questions are called for, a dialogue.

I'm not unfamiliar with this general format, having previously enjoyed Robopocalypse. But unlike that tale, which focuses on a few characters and then weaves their threads together into a cohesive plot, World War Z rarely revisits anyone to whom the reader has been previously introduced. As a result, there is little, if any, character development or continuity throughout the disparate tales.

The only commonality I found, other than the zombie armageddon itself, was the decidedly militaristic nature of the individual stories' focus. The book's subtitle is "An Oral History of the Zombie War", with "war" proving to be the keyword. Almost every recounting is about how a soldier fought a battle, or a general planned a strategy, or a scientist invented a weapon. There are two stories from women who related how their families survived the war, but otherwise, almost no chapter is dedicated to the human element. Even the zombies are faceless foes, rarely viewed as former parents, siblings, children, or co-workers who their former friends and family are now forced to fire upon; this psychological aspect of warfare is almost wholly ignored.

It's not just average citizens who are overlooked; the science of the plague also remains unaddressed. One character pointedly asks, "How come zombies freeze in the winter but come back to life in the spring? Shouldn't the water in their bodies have expanded and burst, killing them?" Another wonders, "Why do zombies that sink to the ocean floor remain whole? Tidal forces deteriorate their clothing, yet the zombies themselves keep plodding along." These are all good questions, yet neither the author nor his nameless journalist see fit to look for answers. A cure or vaccine for the plaque is never even considered.

With so little of the war's fallout examined, and so few typical plot devices present — since every chapter is the narrator's own memory, we know that he or she survived, eliminating any mystery or suspense — World War Z was not a page-turner. My colleagues, who run the gamut of hardcore sci-fi nuts to casual enthusiasts, all agreed: on an academic scale, Michele and I gave the book a C-, and Bob and Paul gave it a C. Only Gene gave World War Z a score as high as B-. It doesn't make any of us eager to see the film adaptation, which appears to bear little resemblance to Brooks' novel.

 

I've lately taken to getting more of my books from the library than from Barnes & Noble. Not only did last year's effort of moving my collection of 600 books — small by some measures — from one town to another prove exhausting, but I've realized I rarely revisit books that aren't part of a series. Seeing them as part of my personal library can be a gratifying reminder of my literary pursuits, but the expense of purchasing, storing, and moving books that I would read only once has become difficult to justify.

But new studies suggest that my methodology is flawed, and that I should be re-reading books more often. Mail Online reports:

The first time people read — or watch — through, they are focused on events and stories.

The second time through, the repeated experience reignites the emotions caused by the book or film, and allows people to savour those emotions at leisure.

The 'second run' can offer profound emotional benefits… By enjoying the emotional effects of the book more deeply, people become more in touch with themselves.

If you think that such repetitive activity is exclusive to children and their reruns of Blue's Clues, think about your peers who re-read every Harry Potter book to date in anticipation of the release of each sequel.

I own few books that I've found myself revisiting over the years, in no particular order:

• Conversations With God
• Mike Nelson's Movie Megacheese
• Maus
• Siddhartha

And there are admittedly books I'd like to read again:

• Watership Down
• I, Strahd
• The Princess Bride
• Good Omens
• Kingdom Come

But with so many unread books waiting to be read, how do I justify retreading old ground? Is it better to spend time with old friends than it is to make new ones?

What books make your "must read again" list, and what balance do you strike between old and new?

It's a sad truth that television doesn't last. Whether it's seven seasons of your favorite Star Trek or a single season of Firefly, all shows get cancelled or go off the air eventually.

Fortunately, the imagination of the show's creators and writers often has a bigger budget than the television medium can afford, allowing them to continue the tales of their heroes in print format. Novels, comic books, and short stories can extend the lives of your favorite shows for many "seasons". Not all shows are fortunate enough to get that extra lease on life, but that doesn't mean your own imagination can't continue the journey.

In that vein, Charlie Jane Anders suggests some awesome books to replace your favorite cancelled TV shows. From Terminator and Angel to Journeyman and Jericho, many of your favorite (but cancelled) science fiction series of the last decade are represented by equally modern literature. Even if you were satisfied with your favorite show's run and are just looking to try some new authors or series, this list is a great place to start.

For my part, I think I'll go add Robopocalypse to my to-read list, making for a nice change from my usual Star Trek pulp.

However, I draw the line at adapting my favorite books into video games.

As a writer, I often find one the most challenging components of an article to be the beginning. I often instructed my students to write this part last, which surprised them, but I would ask: How do you know where your story is going until after it's gotten there?

That advice may not hold up for a work of fiction, but across genres, the struggle of a perfect opening is universal. Yet it's one that must be overcome, as editors judge manuscripts by the first few paragraphs, and so to do readers. How often have you started a book at the store, the library, or your reading chair, and quickly found it didn't live up to expectations? Better to find a tale that grips you from the get-go.

Readers may have the luxury of skipping an intro, but writers do not. Fortunately, Jacob M. Appel of Writer's Digest offers ten ways to start your story better. Each suggestion includes explanation and example, but to summarize:

1. Build momentum.
2. Resist the urge to start too early.
3. Remember that small hooks catch more fish than big ones.
4. Open at a distance and close in.
5. Avoid getting ahead of your reader.
6. Start with a minor mystery.
7. Keep talk to a minimum.
8. Be mindful of what works.
9. When in doubt, test several options.
10. Revisit the beginning once you reach the end.

There — that was easy. Now can we get tips on how to write better middles and ends?

Old Man's War by John Scalzi

My rating: 4 of 5 stars

I'd never read anything by John Scalzi, who comes highly recommended, so I chose to start with Old Man's War, which proved an easy and entertaining entry point for his brand of science fiction and character development.

In the future, life on Earth looks pretty similar to today — but one enterprising company has perfected and privatized interstellar travel. The only way to leave Earth is through them, and they don't let you or your messages ever come back. Plus, you have to join their militia — and the minimum age to do so is 75.

So when the elderly John faces life as a widower, does he stay on Earth, get old, and die… or does he say goodbye to everyone and everything he's ever known and leave for the stars, in the hope that, among this company's impressive technology, is the way to make a 75-year-old body into fighting form again?

It'd be a short book if John chose the former. Instead, readers get to follow along as he seeks out new life and new civilizations — and kills them. Apparently, habitable real estate is tough to come by, and humanity is vying against several competing races to colonize them. John, a former graphic designer, is introduced to a military life with a very high fatality rate, where friends come, go, and are replaced. He handles all this change rather smoothly, cramming a lot of material into one book. But the best parts aren't the technology, but the dialogue. Other characters come to life in unexpected ways, whether it's during demanding battle scenes or off-time in the lounge.

One oversight bothered me: it was acknowledged, but never addressed why, that humanity's sole interaction with alien races is combative and not diplomatic. But I didn't discover until the last page that this book is the first in a trilogy. Perhaps future installments will expand on this relationship.

Overall, I found Old Man's War a fun and easy read that would make me receptive to its sequels.

View all my reviews