

Well, since I’m often putting up post here ranting about something I haven’t liked either on TV or in the cinema, perhaps it’s time to talk about something I do like. The Victorian Farm is a delightful, informative and absolutely addictive program, each episode packed with fascinating details about how country folk way back then used to live. It certainly shows that they were also a hardier breed than us, and opens ones eyes to just how soft and cosseted are our present lives. 



You might like to know that at 89 years old one of the greats of SF has now got a blog. Just read his post about his collaboration with Arthur C Clarke. Good on yer Mr Pohl!
Here’s a little snippet from Wikipedia:
Fred
Ah, it’s Mr Singularity himself with tales of pre then post singularity worlds ‘bobbles’ can isolate and freeze in time their contents. It’s dated a bit now what with these two written in 1984 and 1986 and a world war in 1997 but enjoyable none-the-less. There’s also something very believable about the abilities of the future humans and, frankly, all the characters are engaging and you regret knowing no more about them when the story ends.
Note, don’t make the mistake of buying this if you already have either Peace War or Marooned in Realtime because those are the two tales here. I’d also recommend, if you haven’t read them yet A Fire Upon the Deep and A Deepness in the Sky.
Okay, Julie Crisp gave me a copy of the Feb/March 2009 issue of DeathRay to cast my eye over. There’s an excellent review of The Gabble in there by Guy Haley (who can claim to have done the SFX review of The Engineer, which I copied and put on top of the synopsis and sample chapters of Gridlinked I sent into Macmillan back in 1999). Here’s a highlight:
Thanks to 'msf' for reminding me. There's a band out there called Gridlink which takes its name from Gridlinked. I'm fairly certain that Jon Chang, the guy on vocals, told me about this at some point in the past. As I recollect he's also got the near full set of signed editions of my books too.


As you all might know the sites Facebook and MySpace are crowded with indie bands, professional musicians and the like. Some of these have contacted me and some have obviously found my weird-ass writing inspirational.
I recently had a chat with a friend I hadn’t seen for something like a year, as usual we ranted about the madness that seems to surround us. Being a farmer he’s been at the sharp end of some of the EU and NuLabour madness, red tape and endless ridiculous legislation. He told me first about the tax on plastic bale wrap – a disposal tax they must pay whilst still disposing of the wrap in the usual manner, that is, on a fire; or how he, on a family farm, can’t smoke in his tractor whilst it is out in the middle of a field, can’t smoke in their outbuildings and must put up No Smoking signs. The crap list is endless.Now in charge of a cargo spaceship, the Old Captain Orbus, flees a violent and sadistic past, but he doesn’t know that the lethal war drone, Sniper, is a stowaway, and that past is rapidly catching up with him. His old enemy the Prador Vrell, mutated by the Spatterjay virus into something powerful and dangerous, has seized control of a Prador dreadnought, killing its entire crew, and now seeks to exact vengeance on those who tried to have him killed.
Their courses inexorably converge in the Graveyard, the border realm lying between the Polity and the
Meanwhile, something that has annihilated civilizations is stirring from a slumber of five million years, and the cold war is heating up, fast.
Do you know of a case where a Consensus won a game? You can go back as far as you want to and you will find history furnishing you this (until now) unwritten maxim for your guidance and profit: Whatever new thing a Consensus coppers (colloquial for "bets against"), bet your money on that very card and do not be afraid.
There was that primitive steam engine -- ages back, in Greek times: a Consensus made fun of it. There was the Marquis of Worcester's steam engine, 250 years ago: a Consensus made fun of it. There was Fulton's steamboat of a century ago: a French Consensus, including the Great Napolean, made fun of it. There was Priestly, with his oxygen: a Consensus scoffed at him, mobbed him, burned him out, banished him. While a Consensus was proving, by statistics and things, that a steamship could not cross the Atlantic, a steamship did it. A Consensus consisting of all the medical experts in Great Britain made fun of Jenner and inoculation. A Consensus consisting of all the medical experts in France made fun of the stethoscope. A Consensus of all the medical experts in Germany made fun of that young doctor (his name? forgotten by all but doctors, now, revered by doctors alone) who discovered and abolished the cause of that awful disease, puerperal fever; made fun of him, reviled him, hunted him, persecuted him, broke his heart, killed him. Electric telegraph, Atlantic cable, telephone, all "toys," of no practical value -- verdict of the Consensuses. Geology, paleontology, evolution -- all brushed into space by a Consensus of theological experts, comprising all the preachers in Christendom, assisted by the Duke of Argyle and (at first) the other scientists.
Very nice review of The Gabble over here and Greenman Review:
Over the last two days we sat and watched a film in two parts called Flood, starring amongst others Robert Carlyle and David Suchet. The first half was good (everyone enjoys a disaster movie) but for the latest fashion of, “Let’s shake the camera about to make it appear more exciting,” then the second half lapsed into bathos through to plain daft at the end. Robert Carlyle gets all emotional with his ex-wife and his estranged father, Tom Courtenay, who in turn sacrifices himself at the end to save London in a piece of televisual silliness. Yeah, you’re going underwater into a room that will close off and trap you in there until the city is saved, well, take some more air bottles you prick. But I guess the thing that completely shafted the whole film for me was that, Courtenay, the hero who sacrifices himself, was a climate modeller: “I inserted your data into my model with the result that I, and only I, know that disaster is on the way.” Not particularly credible now we know how climate models don’t work. And not particularly credible that a climate modeller would be seen anywhere away from a computer or press conference and actually out in the ‘environment’.
Just before reading through this I wondered if my opinion might have changed any, finishing the article, I found it hadn't. We're still on the liberal shit-slide, it's just that the shit is getting deeper...
SUPER TROOPER.
I've just re-read Robert A. Heinlein's Starship Troopers – a book I originally read when a teenager. What little I remembered of reading the book then, had since been swamped by the lurid images from Paul Verhoeven’s silly but enjoyable film. I probably would not have read it again but for two circumstances: firstly my mother happened to bring home a copy from the charity shop in which she works, and secondly, the strident claims that Heinlein is fascist/right-wing/libertarian from members of the British SF establishment, piqued my interest, for it is often the books recommended by the same critics and self-styled academics that bore me into a coma.
My second reading of this book gave me what I’ll describe as the Dad’s Army effect. When I watched that series as a child, I laughed along with the slapstick and enjoyed it on that level. Watching it later as an adult, I began to appreciate the adult humour. Starship Troopers can appeal to the SF-with-boy’s-toys oriented adolescent just as much as to an adult with the same orientation. But reading ideas of how human rights and privileges should be earned and should be equally balanced by responsibilities, I began to see why Heinlein is disliked by so many, then I hit chapter eight.
There are those who consider his work ironic – satire – when he is describing his future society, but that’s wishful thinking on the part of people who cannot accept that someone who produces such lucid enjoyable work does not buy into their political beliefs. His satire is in fact directed against the society of his time, and of our time, of which he is unstinting in his scorn. Not accepting the cop-out that he didn’t really mean it, it would seem then that Heinlein advocates corporal and capital punishment “…they (wrongly) assumed Man has a moral instinct.” his narrator tells us, this, after detailing how the delinquents of the twentieth century were never really deterred from going on to become full-time criminals. How they never, in the puppy-training analogy he uses, had their noses rubbed in it.
He comments on a death sentence carried out on someone who kidnapped and murdered a little girl: Well, if there was no way to keep it from happening once, there was only one sure way to keep it from happening twice. Which we used. The old liberal platitude has it that the death penalty is no deterrent to murder, which is like saying that hitting a paving slab at 125 miles an hour is no deterrent to jumping off the
Such simplicity is not relished by those who studied psychology, sociology et al at the universities where they also received their political indoctrination. (It’s sad that so many enter the SF world via the same route and consider themselves radical, when really they’re only joining the establishment.) Such people have not so much a vested interest in disorder, but in over-complication, because that way they can wrest control from poor normal plebs. “You must not smack your child, bring him to the child psychologist and if that doesn’t work, we’ll dose him up with Ritalin, then during his ensuing life this severely screwed-up human being can keep any number of counsellors, psychologists, social workers & sociologists in employment.”
Reading about Heinlein’s work I discover that he did not write 'literature' and that his later works were weighed down with didactic right-wing/libertarian tracts. Of course, had those tracts been left-wing/liberal, he would have been on a higher pedestal in Britain than the one he presently occupies – his work branded as serious literature containing much important social commentary. You gotta laugh.
Starship Troopers was first published forty-six years ago. Read chapter eight if you cannot be bothered with the whole book. In the political zeitgeist of today’s Britain Heinlein is not accepted as a visionary, but that will come after the lunatics presently in control of our society have finished shovelling their excrement at the fan, in the time when we have to clean up the mess.
ENDS.