It is the very error of the moon; She comes more nearer earth than she was wont, And makes men mad.
William Shakespeare – Othello
This post is about the recent book Artemis (2017) by Andy Weir which is a novel set on the first permanent Moon station. called “Artemis”. I was looking forward to reading Artemis because I had enjoyed reading his book The Martian. I loved his unorthodox writing style in that book, which fitted in so well with the unfolding of the timeline of the story.
I loved the movie The Martian (2015), directed by Ridley Scott, made from that book. Matt Damon was brilliantly cast as the interplanetary castaway Mark Watney. I loved that it was sci-fi for the near-future. It was tantalising because, with the book and movie, I could easily visualise the colonisation of Mars unfolding along similar lines. It was just so scientifically grounded and believable.
When I started reading Artemis the thought that it was an inspired idea that an African country such as Kenya could take advantage of the technology of moon colonisation to boost their economy to the first-world standard. It was such an optimistic and hopeful view of a world that might be. I loved the idea that the protagonist was an anti-heroine, Jasmine “Jazz” Bashara from Saudi Arabia. That also seemed, at least at first, to be inspired. But later, when she transforms from a smuggler to a crime-boss, still with her smart, way-too-cool sassiness, the characterisation of Jazz losses its credibility and her role just becomes plain silly. Indeed, the whole story, after being so promising, losses its way and degenerates to silliness as I’ll explain.
This is an example of a style of writing that I’ve been developing for communicating popular science at my blog,
Allan Decker had a secret. His father had told him to: “hold it tight inside you.” You see, Decker and his father were empaths that could feel the emotions of others around them. He had hidden his talent over his career with the Interstellar Commerce Commission (ICC), where he was a Deputy Commissioner. But on this day, in the latter part of 2496, on the newly terraformed planet New Galveston, formerly the desolate and barren LV-178, his anonymity would be uncovered and his secret revealed.
The paragraph above is my summary of how Alien: Sea of Sorrows begins. I’ll return to fill you in with rest once I’ve introduced the other novels in the trilogy. I will also attempt to answer the question of how it all relates to dystopian science.
The Alien Trilogy
Now that I’ve finished reading the Coyote trilogy, I’m eagerly awaiting the concluding novel in Cassandra Clare’s Dark Artifices series (Queen of Air and Darkness) and I’m awaiting the final instalment of James S. A. Corey’s The Expanse series (Tiamat’s Wrath), originally due December, now due March 2019.
I blogged, previously, about reading the Scifi novel Coyote by Allen Steele (2002). I’ve now finished reading the full trilogy: Coyote, Coyote Rising, and Coyote Frontier, of which I enjoyed Coyote Frontier the most, the characters came to life most in that volume, and it presents an intriguing dilemma which had me avidly reading to find out how it would be resolved. The spacecraft EASSColumbus arrives at Coyote with stargate technology that allows traveling through a wormhole to a similar stargate at a Lagrange-point in the Luna orbit of the Earth. The colonists of Coyote now have access to Earth in the several hours that it takes to travel to and from the stargates, rather than several decades, at sublight speeds through normal space. Of course, Earthers have the same rapid access to Coyote.
The dilemma can be framed this way: if Earth had access to another unspoiled planet, that could sustain humans and had plentiful natural resources, what would we do? Would we allow all those that who could afford to migrate to do so? Potentially millions of people. Would we consume all the natural resources from the new planet and export our polluting industries away from earth to there? This dilemma reminded me of the parable of the bacteria in the test-tube that appears to have originated with David Suzuki in his Canadian TV shows in the 1970’s. It has become embodied in much of his life and work ever since (see the YouTube video next). Continue reading “Reading and Reflecting, Again”