• MT VOID, 03/11/22 -- Vol. 40, No. 37, Whole Number 2214

    From evelynchimelisleeper@gmail.com@21:1/5 to All on Sun Mar 13 07:54:12 2022
    Mt. Holz Science Fiction Society
    03/11/22 -- Vol. 40, No. 37, Whole Number 2214

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    Mini Reviews, Part 11 (FINCH, SWAN SONG, I'M YOUR MAN,
    MOTHER/ANDROID) (film reviews by Mark R. Leeper
    and Evelyn C. Leeper)
    THE SHARDS OF EARTH by Adrian Tchaikovsky (audio book
    review by Joe Karpierz)
    The "Little Boss, Big Man, Old Man" Series (story reviews
    by Dale Skran)
    Those Pesky Pronouns (letters of comment by Jim Susky,
    Gary McGath, Peter Trei, Kevin R, Keith F. Lynch,
    Paul Dormer, and Steve Coltrin)
    This Week's Reading (SINOPTICON) (book comments
    by Evelyn C. Leeper)


    TOPIC: Mini Reviews, Part 11 (film reviews by Mark R. Leeper and
    Evelyn C. Leeper)

    Here is the eleventh batch of mini-reviews--four this time--all
    about robots and androids.

    FINCH: FINCH is a post-apocalypse (solar flare/gamma burst) story,
    with many nods to earlier science fiction stories: a low-slung
    robot named Dewey, an opening sequence reminiscent of THE MARTIAN,
    and a humanoid robot built for companionship. There is also a
    scene in which Finch (played by Tom Hanks) talks about the four
    directives (I don't recall the exact word), which are basically the
    Three Laws of Robotics--except after giving the First, Finch skips
    directly to the Fourth; screenwriters Craig Luck and Ivor Powell
    assume the audience knows the Second and Third.

    Hanks is alone again, as in CAST AWAY, but his psychological state
    is different--in CAST AWAY, he knows everyone else is alive, while
    in FINCH everyone (or at least 99.999% of the people) are dead.
    Hanks has been busy lately, with five movies in the previous two
    however, he has to carry basically alone (Caleb Landry Jones
    provides the voice and probably the motion capture for Jeff).
    However, even with human, director Miguel Sapochnik manages to
    include "the slo-mo march" of the heroes abreast towards the
    camera, along in this case it's Finch, his dog Goodyear, Jeff, and
    Dewey. Not a lot of new ground is broken here, but it is enjoyable
    in a classic science fiction sort of way.

    Released 11/05/21 on Apple TV+. Rating: high +2 (-4 to +4), or

    Film Credits:

    What others are saying:

    SWAN SONG: Remember how when I reviewed SWAN SONG with Udo Keir in
    the 12/10/21 issue of the MT VOID, and I said, "There are two 2021
    films titled SWAN SONG. One is a science fiction film with
    Mahershala Ali. This is not that film. This is a drama film with
    Udo Kier."? Well, now I'm reviewing the other one. In other words:

    There are two 2021 films titled SWAN SONG. One is a drama film with
    Udo Kier. This is not that film. This is a science fiction film
    with Mahershala Ali." (And if that seems backward, in the sense
    that one expects Keir to be doing the science fiction one, and Ali
    the drama, well, that just makes it more confusing.)

    Cameron (played by Ali) is dying, and to save his family from
    grief, he agrees to a new technique that will duplicate him
    completely, with all his memories except the ones that would tell
    him he is a duplicate. (This is using cloning technique rather
    than robotics.) The plot has similar ideas to FRANKENSTEIN MUST BE
    DESTROYED, and also MOON.

    The story moves a little slowly, as it has long contemplative
    sequences. And the main thrust of the film is on the emotional, psychological, and moral aspects of this very unusual situation,
    rather than the science fictional aspects. For example, Cameron's
    wife is expecting their second child and says, "This baby is going
    to be good for us." Similarly, the creation of Cameron's duplicate
    is for the purpose of "being good" for Cameron's family. But in
    both cases this is treating a human being as a means to an end for
    other human beings, rather than as a separate individual. (This is
    why biological duplication is important; creating a robot might not
    be considered creating a human being.)

    Released theatrically 12/17/21; available on Apple TV+. Rating:
    high +1 (-4 to +4), or 6/10.

    Film Credits:

    What others are saying:

    I'M YOUR MAN: I'M YOUR MAN is a familiar story, the type that might
    even have been in Isaac Asimov's I, ROBOT collection. In fact,
    this is very like the "Twilight Zone" episode "The Lonely", in
    which a convict marooned on an asteroid is given a companion that
    is a robot. In I'M YOUR MAN, the recipient of a robot (actually an
    android) designed to be a perfect companion first resists accepting
    it to test for three weeks but finally gives in. This is the sort
    of thing that is often Hugo-worthy but hasn't a chance of being
    nominated, because it lacks special effects or big names.

    Released 10/24/21 on Amazon Prime; available on various streaming
    services. Rating: high +1 (-4 to +4) or 6/10.

    Film Credits:

    What others are saying:

    MOTHER/ANDROID: MOTHER/ANDROID is a standard robot apocalypse story
    done on a low budget. Georgia (played by Chloe Grace Moretz, the
    star of KICK-ASS, LET ME IN, and the 2013 version of CARRIE) is a
    pregnant woman trying to escape the androids and reach the supposed
    safety of Boston. There are a number of flying-through-trees
    scenes seemingly borrowed from RETURN OF THE JEDI, and the villains
    of the piece are effectively "Battlestar Galactica"'s Cylons.

    Released 12/17/21 on Hulu. Rating: low +1 or 5/10.

    Film Credits:

    What others are saying:



    TOPIC: THE SHARDS OF EARTH by Adrian Tchaikovsky (copyright 2021,
    Orbit, Audible.com, 18 hours and 43 minutes, ASIN: B093CM9Y44,
    narrated by Sophie Aldred) (audio book review by Joe Karpierz)

    I like to think I follow the science fiction field reasonably well.
    While it's impossible to know all the authors and all the books
    being published, one would think that I would be able to stay
    abreast of authors who have won major awards in the field. Like
    Adrian Tchaikovsky having won the Arthur C. Clarke Award in 2016,
    the British Fantasy Award in 2017, the BSFA Award in 2019, and the
    Sidewise Award in 2020. Me? I started becoming aware of him in
    2021. I picked up CHILDREN OF TIME, the Clarke award winner, at
    Harvey's Tales, a local independent bookstore when they were
    featuring it on a table with a sign that said "if you like X,
    you'll like Y". Then his latest, THE SHARDS OF EARTH, was
    receiving a lot of attention last year, so I figured I might as
    well pick it up and give it a try. I'm glad I did.

    The novel opens decades after a war with a group of aliens called
    The Architects that has obliterated the Earth and other planets
    within the galaxy. The war eventually ended when the Architects
    left. The readers learns, in the opening portion of the book, that
    the Architects were turned away by Idris Telemmier who is an
    Intermediary, an individual who has been altered to be able to
    pilot through unspace, Tchaikovsky's way of getting around the FTL
    problem. The other character we meet in the opening sequence is
    Myrmidon Solace, a soldier in a cloned all female military society.
    The Partheni and Idris are part of a multis-pecies alliance that
    banded together to stop the Architects. No one knows exactly why
    the Architects left, but one thing is clear: Idris was there at
    the final battle (as was Solace), and he was instrumental in
    turning away the Architects.

    In the time of the novel, Intermediaries are in demand as pilots
    who can navigate through unspace. The Partheni need them, so they
    send Solace to try to convince him to come back and join the
    Partheni as a pilot and as a potential weapon should the Architects
    ever return. She finds him as part of a spacer crew on the salvages
    ship Vulture God. He is their pilot, and the crew take on jobs and
    contracts to earn enough money to keep going, as one would expect a
    salvage ship to do. The crew of the Vulture God does not trust
    Solace. The stories about the Partheni are that they are an all
    female clone army hell bent on destroying everyone that is not like
    them. Yet, Solace gets sucked into an adventure when the Vulture
    God discovers a ship that looks like it has been destroyed by the

    So, the questions now are "are the Architects coming back?" and
    "are they already back?" The crew of the Vulture God, a diverse
    cast made up of individuals with various talents, is caught up in a
    game of politics and intrigue, with various factions vying for
    their services, and in particular the services of Idris, to either
    cover up the possibility of the return of the Architects or help
    with the battle with the Architects that is sure to come.

    THE SHARDS OF EARTH is a story in the grand tradition of space
    opera. There are space battles, aliens, unknown artifacts, and
    political intrigue. While the space battles aren't on the scale
    of those found in any Peter F. Hamilton novel --they are more
    personal and intimate (which is weird, all things considered) -
    they are still worthy of battles in the space opera tradition. Can
    we call this "wide-screen" space opera, as Hamilton's books have
    been called? I don't think so. In some sense, this is a more human
    space opera than what Hamilton writes, but each have their place in
    the pantheon of space opera writers, and they complement each other
    quite well.

    Sophie Aldred is an interesting choice of narrators for this book.
    Long time Doctor Who fans will recognize her as the actress who
    played Ace, the companion to Sylvester McCoy's seventh Doctor. It
    took me a long time to get used to her narrating this book. Not
    because she wasn't good at it; to the contrary, she was quite good
    at it. I don't know what it was, but eventually I came around to
    her voice and style of narration.

    THE SHARDS OF EARTH is a pretty good novel, and I do recommend it.
    Now it's time to get on the Tchaikovsky bandwagon and find out what
    I've been missing over the last several years. [-jak]


    TOPIC: The "Little Boss, Big Man, Old Man" Series (story reviews by
    Dale Skran)

    A while back I found an interesting story in Asimov's, "Helping
    Take Down the Old Man," by William Preston, and noted that it was
    part of a series of related tales. Recently, I decided to re-read
    the series in time order [not order of publication], and review
    them, so here goes. The stories concern a person whose name is
    never actually mentioned, but who goes by a variety of nicknames
    and monikers, and who is obviously based on the pulp hero, Doc
    Savage. The stories are far more literary than those by "Kenneth
    Robeson," but not the sort of pastiche one often sees. Instead,
    they delve into deeper questions about what such a hero might have
    been like were he a real person. At their best, these are
    powerful, imaginative tales.

    "Unearthed", Asimov's September 2012 [Novella]

    This is the weakest of the four stories. It deals with an early
    period in the career of our hero, when he apparently is working for
    his father as a global troubleshooter, and is assigned to
    investigate a mysterious mining disaster in South America. The
    "man of bronze" is referred to as the "Little Boss" since he works
    for his father, the "Big Boss," one assumes. The menace is suitably
    pulpish, and a Mohawk female writer tells the story in first
    person. Later in the series it appears that she became a
    "chronicler" of his adventures, and perhaps one of his many
    "assistants." One purpose of the story is to introduce the obscure
    language the "Little Boss" uses in his diaries. Another is to
    introduce the fairly obvious but little noted observation that the
    "Man of Bronze" is almost certainly not a Northern European.
    Either his unusual coloration is a side-effect of genetic
    tampering, or more probably, his mother was a person of color that
    his father met during his global adventures. I've long thought
    that Dwayne Johnson would be the perfect person to cast as Doc
    Savage. Johnson is Samoan on his mother's side, and Black Nova
    Scotian on his father's side. In addition to having the right skin
    tone, Johnson possesses the massive physique associated with Doc
    Savage, and is more than capable as an actor of portraying the
    original super-hero.

    "Clockworks," Asimov's April/May 2011 [Novelette]

    Told first person from the viewpoint of someone who was clearly a
    very dangerous villain, but after the "Big Man" has performed the
    miraculous surgery that allows an evil person to become a good
    person, this story is powerful. Much of the story takes place
    inside the "Big Man's'" secret arctic base, and is of great
    interest to fans of Doc Savage. Although the menace is, again, a
    pulpish triumph, and we meet avatars for many of the old Doc Savage
    crew, the main focus of the story lies in what it might mean for an
    evil person to choose to do good.

    "Helping Them Take the Old Man Down," March 2010 [Novelette]

    This is the first story published, and the one that initially
    caught my attention. Told first person by one of the "Old Man's"
    assistants, it explores what might motivate a loyal follower of a
    good and heroic person to assist the federal government in
    capturing a pulp hero in the aftermath of 9/11. This is a strong
    story with a fully realized character and many clever ideas. One
    oddity is that at various points two different female assistants of
    the "Old Man" commit suicide. In one case, this happens after the
    Old Man is captured by the government, and is reasonably plausible.
    In the earlier case it makes less sense, and causes the reader to
    wonder what the author might be trying to communicate.

    "Each in His Prison, Thinking of the Key," April/May 2014

    The only story that gets cover art, it is perhaps the best in the
    series. The "Old Man" has been held for many years in a special
    high-security prison. Told first person by "Jimmy," an
    interrogator brought in as a last-ditch effort to break the "Old
    Man," it details an interesting approach to interrogation, and a
    character, Jimmy, who, in his own way, is as much a superman as the
    "Old Man." But, as Jimmy finally realizes, "He's too good." It
    should come as no surprise that the "Old Man" contrives to escape
    and rejoin his aides, rising to battle a new pulpish menace. The
    story suggests that the greatest power the "Old Man" wields is not
    his numerous Phds, vast martial arts prowess, apparent agelessness,
    or many brilliant inventions, but an unbending will and loving
    heart. Also, as Jimmy learns, just because someone is in a prison
    does not mean the jailors are in charge.

    You can find all four of the stores on Amazon as ebooks for a
    modest price, or free as part of kindle unlimited. A 5th story is
    promised to conclude the series, but it appears from Preston's
    really out of date blog that he never quite finished the story.
    Preston has written a few other stories, mostly for Asimov's, a few
    earlier than the "Old Man" series and a few after, but he is not
    very prolific.

    It is hard to find details about Preston on the web, almost like he
    doesn't really exist except as a writer telling tales of the "real
    Doc Savage." Makes you think. Anyway, highly recommended series
    to any SF reader, and especially to fans of Doc Savage. The
    stories combine pulp action, good writing, strong characterization,
    clever ideas, and solid speculation into something you will want to
    read more than once. [-dls]


    TOPIC: Those Pesky Pronouns (letters of comment by Jim Susky, Gary
    McGath, Peter Trei, Kevin R, Keith F. Lynch, Paul Dormer, and
    Steve Coltrin)

    In response to various comments on pronouns in the 03/04/22 issue
    of the MT VOID, Jim Susky writes:

    Evelyn wrote, "There is ample historical evidence for the use of
    the 'plural' pronouns as indefinite singulars (e.g., Jane Austen).
    For that matter, 'you' used to refer to only the plural, and 'thee'
    and 'thou' were the singular. There was also a ruckus over the
    change to 'you' as a singular.

    As a whelp, with no knowledge of Jane Austen (who was *not* closely
    related to a famous Texan) and a dim awareness of England and that
    Americans were once Englishmen, I was at the mercy of my
    Michigan-educated mother regards "automatic grammar" (and not the
    esteemed Madam Austen).

    Thee and Thou were the province of the KJV. One site cites (!)
    3,881 instances of the latter and 2,736 of the former.

    In SHOGUN, James Clavell used those terms to indicate discourse in Japanese--mainly between Mariko and Blackthorne,


    "while generations of English teachers insisted (and maybe still
    insist, AFAIK) that 'everyone' et al are singular and hence should
    take singular pronouns, I doubt that any of that impressive
    assemblage would accept the correctness of the sentence 'Everyone I
    knew was there, and he had a good time.' "

    Collective nouns still grieve me--for instance:

    "The Olympics *is* a great sports spectacle (or *was*)"--this
    (automatically) sounds okay to me--though I realize I am nearly
    alone in this. [-js]

    Evelyn notes:

    Of course Jane Austen is not related to Stephen Austin.

    And while in the United States we say, "Corporation X sponsors this
    program," in Britain they would say, "Corporation X sponsor this
    program." [-ecl]

    Gary McGath elaborates:

    More precisely, "you" was used as more respectful, formal pronoun
    than "thou," analogous to the "tu/vous" distinction in French and
    "du/Sie" in German. This seems to have arisen in late Middle or
    early Modern English. While I don't know Old English, it appears
    that it made a consistent distinction between single and plural
    second person, regardless of social relationships.

    The Quakers pushed for the abolition of social distinctions in
    pronouns by using "thou" and "thee" for everyone. The language
    accomplished the same thing by going in the opposite direction,
    with "you" for everyone. The accusative "ye" disappeared around
    the same time, further simplifying the language.

    Perhaps because of the King James Bible, the use of "thou" for God
    hung on after other uses of the pronoun became rare, giving the
    impression it's a more formal pronoun, when the reverse was
    originally true. [-gmg]

    And later corrects himself:

    I got it backwards. As explained there, "ye" is the nominative and
    "you" the dative or accusative, which are rarely distinguished in
    modern English.

    "Ye" survives in some expressions, such as "Hear ye, hear ye."

    Kevin R adds:

    Also used to ID certain bipolar rappers. [-kr]

    Evelyn adds:

    And "God rest ye merry, gentlemen." [-ecl]

    Peter Trei asks:

    So, it's like 'youse' , or 'you all'? [-pt]

    Keith F. Lynch asks:

    Was there ever really such a word as "ye," or was it just a
    misreading of "the" spelled with a thorn in place of "th"? The
    letter thorn looks a lot like a "y." [-kfl]

    Paul Dormer answers:

    Chambers says there were two different words "ye":

    ye[1] /ye or yi/ (now archaic, dialect or poetic)
    The second person plural (sometimes singular) pronoun
    Cf you. Formerly, eg in the Authorized Version of the
    English Bible, ye was always used as a nominative, and
    you as a dative or accusative
    Later ye was sometimes used for all these cases
    ORIGIN: ME ye, nominative; your, genitive; you, yow, dative
    and accusative pl, from OE ge, nominative; eower, genitive;
    eow, dative and accusative

    ye[2] /the, thi or (reflecting the spelling) ye/
    demonstrative adj
    An archaic spelling for ‘the’, arising from printers' use
    of y for the letter thorn, . See Y (n)

    Paul also notes:

    I was certainly taught--primary school, north of England, early
    Sixties--that they and them were to be used for singular persons of
    unknown gender:

    There's someone at the door.

    Ask them what they want.


    Steve Coltrin adds:

    That's unremarkable in my experience too.

    A thing I've noticed I do is use singular they for persons of known
    (to me) presenting gender when they're highly distal to the person
    I'm talking to. [-sc]


    TOPIC: This Week's Reading (book comments by Evelyn C. Leeper)

    edited by Xueting Christine Ni (Solaris, ISBN 978-1-78108-852-4) is
    a collection of thirteen stories written between 1991 and 2019. The
    longest is A Que's "Flower of the Other Shore", which I estimate at
    about 26,000 words, or novella-length; the rest are considerably

    All the stories are good, but I'll comment on just two of them. I
    am a big fan of Bao Shu (a.k.a. Baoshu, in both cases a pseudonym
    for Li Jun), so it should come as no surprise that I liked his
    story, "The Absolution Experiment". (**SPOILER** I am sure I read
    a somewhat similar story years ago in Asimov's, but with
    re-animation instead of immortality. **END SPOILER**)

    The other story that also rang a bell was "The Tide of Moon City"
    by Regina Kanyu Wang. Even if I had not just read Ursula
    K. LeGuin's THE DISPOSSESSED, I would see a lot of similarities: a
    double planet, one of them inhabited by colonists from the other,
    with conflicting economic/social systems, and engaged in a
    stand-off that prevents people from traveling freely between them.
    Scientific research on one of them promises to be extremely
    valuable ... to the other one. And so on. Was this in response to
    LeGuin? Or was this inspired more by tensions between China and
    Taiwan, or China and Hong Kong, or some other aspect of Chinese
    politics that I don't even recognize?

    There have been quite a few anthologies of Chinese science fiction
    ("kehuan") recently, this is distinguished (according to the
    introduction by Xia Jia) by focusing "more on young writers an the
    relatively later works of female writers, putting more emphasis on
    the diversity of style and subject matter." [-ecl]


    Mark Leeper

    There cannot be a crisis next week. My schedule is
    already full.
    --Henry A. Kissinger

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