Aside:- It’s not often I particularly remember where I actually bought a book but Croft-Cooke had been recommended to both me and the good lady so when she alighted on this one in a great second-hand book and antique shop we stumbled on in Saffron Walden on our October trip it was a must.

On his uppers in Paris and with no previous experience of anything much at all John Scout writes, with the aid of his otherwise reticent girlfriend (who forces him to sleep with a sheet between them,) a novel called The Strip Teas for French pornographic publisher Klick. This is taken up as a ground-breaking work by a reputable English publisher who changes its title to Grand Climacteric and the author’s name to Jakki Trover. This gives Croft-Cooke the opportunity to satirise the publishing industry in all its aspects from agents through publishers to book reviewers and authors keen to raise their profiles as well as other topics including the law and prudishness.

The tone is that of the comic novel, no really serious points are made, but Wolf From The Door is very readable, though slight. Most of the story is carried via dialogue, though, and I found the consequent lack of description of surroundings irritating – as was Scout’s naivety.

The chapter titles are all listed at the beginning and refer to the process whereby a book comes into being, The Book, The Agent, The Contract, The Publisher, The Proofs etc. so it’s not a spoiler to say that Grand Climacteric becomes subject to a prosecution for obscenity. Scout, who always knew The Strip Teas/Grand Climacteric was rubbish, writes a completely conventional novel for his next effort.

Wolf From The Door was published in the 1960s. Perhaps things were better in those days as I only noticed three or four typos, a strike rate modern books in general far outdo. One particularly felicitous example was where Scout “threw his coat onto a char.” Another occurred in the “reproduction” of the advert for the English book where “Trover”’s novel is given second billing to another from the same publisher but its title is spelled Grand Climateric. I thought this was going to be used as an example of where publishers fail to do the best by their authors but none of the characters comment on it so it must be a genuine typo and not intentional by Croft-Cooke.

I am left wondering how typical of Croft-Cooke’s prodigious output Wolf From The Door is.

I have fond memories of this author’s 1972 novel The Patterns of Chaos which had some humorous aspects. The Survival Game is from four years later and unfortunately shows its age.

Two star kings are in dispute over whether or not to join those aligned with Earth in a federation. To resolve matters they agree to have their respective champions engage in a game of survival on the dangerous planet Avida. King Oontara chooses an Earthman, Colonel Bogaert, as his (unbeknowing) champion. His rival King Xzan has chosen a former resident of Avida as his. Meanwhile a Pretender to the throne of the emperor Kanizar has taken advantage of his absence to launch an attack against his capital planet. Kanizar’s wife and children escape and accidentally become Bogaert’s companions while they are trying to get to safety on Earth and stow away on the ship on which he is hi-jacked to Avida.

I suppose we are to take from the book’s title that the bigger game in which all the civilisations (I use the word loosely) in the novel are engaged is of survival but the treatment can not carry such a weight. Neither is the staleness of the premise the only problematic feature, the characterisation is uniformly minimal – not to say non-existent. There is an attempt at humour, of a sort, as Bogaert is sometimes referred to as ‘Colonel Bogey’.

The Survival Game is the sort of story where people from Earth are called Terrans and are infinitely resourceful and competent, effortlessly running rings around other inhabitants of the galaxy. In the past 35 years we have, thankfully, gone beyond that.

It’s just possible that this was a send-up of a style of writing around at the time, but if so I do not recall it and it does not read as pastiche. File it in ‘of its time’ and move on. Perhaps I should not go back to look at The Patterns of Chaos.

PS I noticed on Library Thing that The Survival Game has 4½ stars. Come on guys! You have to be kidding.

The book is set several generations after the devastating Gene Wars of the late twenty-first century. Varieties exist of humans genetically altered by what Sullivan terms virii (though why “viruses” would not have sufficed is difficult to see.) Unaltered, true humans cannot survive on Earth in the open but are confined to reservations, known as rez. Society is now run by a group of disembodied Heads – known as “the Pickled Brains” – who were found in the ruins of the buildings occupied by Ingenix, the company largely responsible for the Wars.

A series of interplanetary portals has been found at Underkohling, somewhere in the outermost reaches of the Solar System, from some of which no-one returns. The fugitive bosses of Ingenix were thought to have escaped through one of these. When indications show that travel back through this gate may be possible Daire Morales goes to investigate and is drawn through the portal.

On Earth, Jenae Kim, an altermode who has gills and so can breathe underwater – such altermoders can also communicate telepathically with dolphins – is employed by the Heads to help decode the data from the Underkohling gate and is aided by her dolphin pod.

Morales finds a strange world beyond the gate, inhabited by children and adolescents who only have time to reproduce before a “distortion” changes them into something inhuman and inimical. Those who show signs of distorting are driven out before they can inflict damage. The surroundings of this world – the lywyn – are a repository of memory mediated by the “ghosts” of those who have distorted. (Lethe is classical Greek for forgetfulness and was one of the rivers of the underworld.)

Jenae Kim gradually becomes drawn into conflict with the Heads and the threads of the novel draw together with a hijacked expedition to the gate.

This was Sullivan’s first novel and as such it is impressive. The main characters’ motivations are comprehensible and distinct.

There is always a problem in such a scenario with how to depict non-humans in the round. Too often they can be one or two-dimensional at best. Here the altered humans known as One Eyes are not particularly fleshed out – to be fair they are mainly background – but most of the children beyond the gate are merely ciphers while the main agent in this setting, their leader Tsering, has an attribute which is largely due to plot necessity and alters as a due result.

You may recall I had not been overly impressed with Sullivan’s Someone to Watch Over Me. Her last year’s BSFA Award nominee Lightborn was more engaging – and shows an interesting parallel with Lethe as regards motifs – but I still would probably not have bought this but for sighting it in a second hand bookshop (in Haworth.) It is good stuff, though.

In his recent Bengal Station trilogy Brown has been revisiting some of the conventions of Pulp SF. He has also treated us to a Big Dumb Object novel in Helix. In Guardians of the Phoenix, he has turned his attention to the disaster novel, or rather, to the post-Apocalypse tale. Here too, though, there are faint echoes of Pulp SF in the Phoenix of the title.

The Earth is parched, the oceans boiled away. Resource wars and plagues have reduced humanity to dreams – and fears – of the old times. In a handful of small communities sparsely spattered over Europe a few surviving humans cling on, barely scratching a living from the harsh, sun-battered environment.

To begin with there are three main viewpoint narratives. With large animals extinct and plants beyond scarce, Paul traps lizards on the girders of the Eiffel Tower to feed his dying mentor Elise. In Aubenas the locals net bats for food and their leader quietly supplements their diet with a little cannibalism. A band of renegades has kidnapped the daughter of one of the elders of the decimated community in Copenhagen.

The action kicks off when the renegades turn up in Paris to seek out the rumoured food horde in a bank vault. A group from Copenhagen has pursued them. In the resulting gunfight the chief renegade, Hans, escapes and Paul, who had fallen into his clutches, is rescued.

Since Elise has died Paul joins the Copenhagen group’s onward trip to drill for water below what had been the Bay of Biscay. Hans returns to his former home in Aubenas just in time to join an expedition to Bilbao to find the remains of an abandoned project designed to save humanity from extinction.

As usual with Brown the focus is mainly on the characters, who are well rounded – the relationship between Dan and Kath from Copenhagen is particularly well laid out and Hans makes a convincing psychopath – though Paul, even given his earlier relative isolation, is perhaps still a little too naïve. Given the above the book’s plot has to follow certain lines but there are twists and turns along the way. The resolution is saved from being a bit of a deus ex machine by very short premonitory chapters featuring members of the Bilbao project, which however give the Phoenix game away somewhat.

As an adventure story the novel works admirably but I found I couldn’t quite buy the scenario – an Earth where the water has evaporated from the oceans would admittedly have a consequent runaway Greenhouse Effect but unless all the atmosphere had gone along with them it would surely be more like Venus, constantly overcast, and hence sunburn would be no problem. (I also wondered how in a parched world as depicted would plants be able to photosynthesise and thus keep O₂ levels up? Though animals to breathe it in have of course mostly disappeared.) These quibbles aside however Guardians of the Phoenix is fine entertainment.

(Plus 4 pages of acknowledgements, 1 page “about the author” and 24 pages containing three short stories from winners of a competition to set a story in the milieu of Beukes’s previous novel Moxyland, an unnecessary addition to my mind.)

I have previously lamented the fact that the general run of fantasy novels seem to be set in a default mediævality and that no-one is trying to write fantasy in a contemporary setting. Well Zoo City is taken by some to be SF – it was on the BSFA Award shortlist for best novel last year – but to my mind fantasy would be a better description. In particular magic is an essential component of the setting and plot. Yet the novel takes place in the present day! (Albeit a present day thoroughly transmogrified.)

Zinzi December is an aposymbiont – who are derogatorily termed as animalled. Aposymbionts are individuals who, as a result of committing a serious crime, have gained an animal companion with whom they have a psychic link, in the process acquiring an attribute. This is not quite the same as in Philip Pullman’s His Dark Materials trilogy, which Beukes does refer to in the text, as in his universe the animals begin attachment at birth. Zinzi’s companion is a sloth and her attribute is sensing lost objects. She can follow psychic threads to recover things. This is her apparent job but to pay her debts she moonlights as an email scammer. She is engaged by two rather unsavoury individuals (both animalled) to find a lost pop star and is drawn into a world of intrigue, backstabbing and murder.

Narrated in an urgent present tense, apart from the interpolations of cod press articles and psychological papers fleshing out the background, the novel is of a piece with the thriller feel of much near future SF. But Beukes is good at this – very good indeed – the gritty realism makes her scenario entirely believable while you’re immersed in it. That the novel takes place in South Africa may be one factor in its appeal. African phrases and words are utilised frequently but not so as to obfuscate or confuse. The acceptance of magic is a given (as it may be in “our” South Africa.)

Where the story veers away from thriller SF into fantasy is that the transformation of the world to one where animals can become “familiars” is not given much of a rational explanation.

Zinzi and her boyfriend Benoît, whose animal is a mongoose, are well drawn, nuanced characters with full backstories which mercifully emerge from the story as it is told rather than being dumped on the reader. Others are equally believable.

This was fun, sharp and (the misuse of pre-empt aside) well written stuff.

It’s not often a novel is concerned primarily with language but Embassytown is that exception. Unlike in Suzette Haden Elgin’s Native Tongue series, however, Miéville does not merely dally with the idea of language and translation but instead embeds this concern in the narrative; indeed the plot’s resolution is dependent on language and communication.

On a planet named Arieka, at the edge of known space, the Bremen colony of Embassytown is a habitable enclave surrounded by the otherwise poisonous demesnes of the indigenous Ariekei who are known as Hosts. Their language (Miéville emphasise its importance to the novel by naming it Language rather than Ariekan) contains no facility for lying and also requires the simultaneous uttering of two words/thoughts in order to be understood. This leads to a typographical representation oddity which I cannot fully reproduce here and is merely one illustration within the book of Miéville’s fascination with duality, a seam mined repeatedly in his earlier novels. “Twinned” Ambassadors referred to as doppels are identicalised individuals, kept identical by regular cleansing sessions which remove the superficial blemishes picked up between these ablutions, have been tested for empathy and trained to interact with the locals by speaking simultaneously. They have names such as ArnOld, RanDolph, CalVin, MagDa, CharLott or JoaQuin and are always referred to in the plural in constructions such as “the Ambassador were” – except when their components are on their own. The first three sections of the book, up to the initial crisis, are also twinned, with succeeding chapters respectively headed as Formerly or Latterday. Here, the difficulties of communicating with the Hosts and the struggles of a few of them to adopt human modes of speech are laid out. The remainder of the book deals with the fall-out from that endeavour.

Narrator Avice Benner Cho is a former immerser – a traveller in the immer, the void between planets – who, unusually for one of her kind, has returned to Arieka. Like many Embassytowners she has been made into a simile (she is the girl who ate what she was told, rather than what she wanted.) These human similes help the Ambassadors to talk with the Hosts. Avice’s status is, of course, vital to the plot’s development.

Disappointingly in a book so concerned with language, Miéville somehow manages (twice) to use grit where gritted is surely preferable but overall Embassytown is impressive. It may well be a front runner for this year’s BSFA Award, or even the Hugo. It is not flawless, though. Too many Ambassadors are indistinguishable (not in themself, but between them – you see where this twinning thing makes comment problematic) and the characterisation and motivations can be sketchy. That the Hosts are mere plot carriers is more forgiveable as they are not human and Miéville has taken pains to underline the difficulty of cross-species understanding.

Overall, though, as an intellectual exercise, an exploration of the idea of language as a defining cultural construct, the book succeeds admirably.

I have now posted my review of this anthology – first published in Interzone 233, Mar-Apr 2011 – onto my side bar under the “My Interzone Reviews” heading.

Reasonably successful writer Eve Smart, her philandering lecturer husband Michael and their family are renting a house in Norfolk when they are intruded upon by a female stranger called Amber, who proceeds to inveigle her way into their home, befriend Eve’s twelve year old daughter Astrid and seduce her teenage son Magnus.

The novel is split into three sections, The Beginning, The Middle and The End in all of which each family member has a narrative strand. Astrid’s narration is initially irritating as she has a habit of using ie (or even id est) in circumstances which do not warrant it. Thankfully, she – or Smith as the author – grows out of this by The End. Each section is preceded, and hence followed, by a framing narrative in the first person from Amber’s viewpoint. (This does not illumine Amber’s behaviour overmuch.) The unravelling of the Smart family’s life under Amber’s influence is the meat of the book.

There are several infelicities. Not only are a couple of characters unsympathetic but the changes of viewpoint initially jar and for a long time the lack of justification in the text irritated me. The ragged right hand margin was too much of a distraction. By The End, though, the characters (apart from Amber) are more established and these concerns fade.

I noticed that the “cloud” on my Library Thing tags this novel as Scottish Fiction. (According to the book’s blurb Smith was born in Inverness in 1962 but now lives in Cambridge.) Fantastic Fiction also designates her as Scottish. There is nothing identifiably Scottish about The Accidental, though; not its setting, its themes, its dialogue nor its vocabulary. Mind you, the same could be said about Allan Massie’s The Sins of the Father or Andrew Crumey’s Music, In a Foreign Language both of which I read recently. Interestingly enough, Library Thing has those two books tagged as Scottish Literature.

After the relatively disappointing aberration of Fury this novel sees Rushdie return for his setting to the locales and interests from which he made his name. He treated with Indira Ghandi’s India in Midnight’s Children, Pakistan in Shame and Islam in The Satanic Verses, before returning to (modern) India with The Ground Beneath Her Feet. In Shalimar The Clown it is Kashmir on which he focuses. In this sense the novel’s start is misleading as it begins in California with the daughter of a former ambassador in the days leading up to his assassination by his chauffeur/factotum, the titular Shalimar the Clown.

The book ranges far and wide with many digressions. In a strange resonance with the previous book that I read the ambassador, Maximilian Ophuls, [why Rushdie chose for his character the name of a film director is somewhat obscure; to me at any rate] was a (Jewish) native of Alsace forced to flee, leaving the family printing business behind, after the Germans took over in 1940. He became a leading member of the French Resistance, was involved in US-French relations, emigrating to the US at the end of the war, and was appointed ambassador to India in the 1960s. This novel is not without incident.

The story arc of the book deals, though, with the relationship between Noman Sher Noman and Boonyi Kaul (both of whom, along with Max and his daughter are given sections of the book – I was going to say to themselves, but other characters pop up all the time all over the book, in typically Rushdiean profusion) and the two villages in Kashmir, Pachigam and Shirmal, where they grew up. It seems all of life is here; the picture of a community, a way of life, is detailed. The plot of the novel is almost buried at times – yet this is true of every section. And is the placid, comradely, nature of existence there before the tensions between India and Pakistan led to strife in the region a touch overplayed? Whatever, the growth of Islamic fundamentalist influence, the deterioration in the situation and the horror of communal conflict is well depicted. Neither the Pakistan backed Muslim terrorists nor the Indian Army are spared implicit criticism.

When Ophuls visits the villages Boonyi seizes her chance to escape, only to end up in a different kind of entrapment. Noman meanwhile burns for revenge. He is recruited as a terrorist and suppresses his character while training. In this context the use of his name (no man) as a signifier seemed perhaps a little trite.

A short review can only touch the surface of the myriad elements which go into a novel which, like this, tries to deal with a big issue. There has to be some kind of story on which to hang the subject matter but at times, here, the human dimension is lost in a surfeit of detail. Do we really, for example, need to know the history of the main characters’ parents? This is a trope which Rushdie has employed in previous books. (A similar trait annoyed me in Norman Mailer’s The Naked and the Dead where, every time the author switched to a new viewpoint, we were treated to the character’s whole life story to that point, fatally interrupting the novel’s flow.) In Shalimar The Clown moreover, many passages are told rather in the style of a historical narration than a novel. I shall not reveal the true identity of Shalimar, even though it’s not hard to guess.

While I could have done without the ascent into fantasy in the final section, Rushdie’s sympathies are always in the right place and, despite the various horrors the book describes, overall it is, as perhaps all fiction should be, life–enhancing. After Fury, it represents a return to form.

*

To counteract the German surge during the famous Battle of the Bulge in the Belgian Ardennes, Allied Supreme Commander, Eisenhower, was forced to move General Patton’s troops away from a more southerly front in Alsace and along the Rhine on the border of France and Germany. This dangerously thinned the Allied forces in that area – so much so that Eisenhower ordered General Devers (in whom he apparently had little confidence) to withdraw to the Vosges in the event of being attacked. This was contrary to all US military convention which is against the giving up of ground hard won by US blood. Moreover it meant that Alsace would once more be under German control and that Alsatian city beloved by the French, Strasbourg, would for the third time in 70 years have fallen to Germany.

The Germans had foreseen most of this and, hoping to drive a wedge between the Allies, attacked here also in Unternehmen Nordwind, Operation Northwind. The resulting crisis caused a major rift between the French and US commands and poisoned French attitudes to the US for decades after. At the hint of withdrawal De Gaulle told Eisenhower that even if US troops would not defend Strasbourg French ones would. Eisenhower then threatened to withhold supplies from the French army and De Gaulle, de facto leader of France, then counter-threatened to deny the Allies transport rights across France! Partly as a result, but also because General Devers wanted to fight his ground, thousands of US troops – not to mention the French and the Germans – became casualties, in atrocious winter conditions. One of the troops involved was the most decorated US soldier of WW2 and later Hollywood film star, Audie Murphy, who won the Medal of Honor in these actions.

The author occasionally displays an animus against the French. He lays at their door the lack of withdrawal and hence the responsibility for subsequent US casualties – though the French attitude to Strasbourg in particular and Alsace in general is perfectly understandable, especially since their fall might have led to De Gaulle’s government being replaced by the communist elements of the Resistance. In the epilogue we find Whiting also blames General Leclerc’s determination to restore French military pride for the French attempt to retain their colonies in Indo-China hence the subsequent US embroilment in Vietnam, and thousands more US deaths.

As is usual with military history the text sometimes resembles an alphabet soup of Divisional nomenclature. A serious lack here is of maps. There is at the beginning of the book one map of the general area of operations but the place names are tiny. More detailed maps of parts of the overall battle would have aided comprehension of the ebb and flow.

In the end the Allied troops held out (but not without retreats, surrenders, self–inflicted wounds and even desertions along the way) and the Germans exhausted themselves against the defence, failed to hold off the counterattack and broke off, partly to send troops back to the Eastern Front.

*This is not the cover of the Grafton edition that I read. Neither was/is the cover shown on my Library Thing pages.