Tag: books

Truly Hard Science Fiction

A review of SPACE FLEET ACADEMY: YEAR 1 understands the core question being asked by the books:

Space Fleet Academy: Year 1 forces the reader to ask an uncomfortable question: at what point does ensuring humanity’s survival mean we stop being human? The book may be the hardest sci fi I’ve ever read. It is definitely the hardest sci fi I’ve read in a while. Hard sci fi differs from softer sci fi in that it deals with, well, harder science instead of flashy toys. Let me explain the difference in the two.

Soft/Light sci fi asks “what if we had this cool technology?” Star Trek is the most popular example, and it is one that I love (up until the end of Enterprise, and skip the last episode, please). It then explores the adventure and drama that unfolds from faster than light travel and instantaneous transport. But with Star Trek, the driving force has been the story and adventure of meeting alien species and having moral conflict instead of exploring how the warp drive works. Yes, they explain it in places, but there’s a lot of hand waving and techno babble because the point is not that humanity can travel faster than light but the interactions with aliens now that we have faster than light. I write light sci fi along with the fantasy works. I didn’t even work out how the FTL drives work in High Frontier until the third installment! But Year 1 doesn’t hand wave the science. It asks the hard question: what happens when we apply what population genetics teaches us?

Hard sci fi explores the technology, engineering, and, in this case, genetics and takes that to the logical conclusion. Andy Weir, Larry Niven, and Arthur C. Clarke are good examples. Year 1 works with population genetics and says, “Okay. This is how populations evolve. This is how genetic drift works. What happens to a society when it stops drifting? When the genome becomes frozen, what will the powers that be decide to do about it?” Most importantly, how does implementing those policies affect our humanity?

That’s where Year 1 takes us. The cascade drive has given humanity the stars. Dozens of colonies have spread the genome across light years. It is expected for those colonies to have significant losses of life prior to and during the reproductive years of the individuals so that natural selection can select the fittest. In fact, when the childhood mortality rates drop below a certain threshold, the powers that be are disappointed. Read that again.

If you think SFA is hard science fiction, definitely check out the fourth book in the Biostellar series. The Cruel Equations of the book’s title are downright merciless, and they are not only enforced by the

The science is real. The math is remorseless. The choices are impossible.

When Federation inspectors walk through a children’s hospital on the colony world of Verlaine and frown at the survival rates, Deputy Health Minister Jean-Marc Bergeron knows what’s coming. The numbers are too positive. Too many children are surviving to adulthood. And the Human Genome Mandate, the iron law that has governed humanity’s expansion across the stars for four centuries, demands change.

The Federation’s demand: raise Verlaine’s mortality rate from 2 percent to 15 percent. Let two and a half million people die every year. Dismantle the advanced medical system that three generations of colonists bled to build. All of this must be done to satisfy a statistical coefficient on a spreadsheet in an office on Earth.

The reason is non-negotiable: the human genome is degenerating. Natural selection stopped operating over five hundred years ago, and every generation since has accumulated mutations that cannot be purged. The math is not speculation. It is not a theory. It is a measured, validated, ticking time bomb of extinction, and the only proven solution demands that someone’s children pay the price.

The people of Verlaine say no.

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Literary Relevance is Not Guaranteed

The Dark Herald explains how the modern exploitation of the Tolkien legendarium is likely to reduce the chances of JRR Tolkien’s future literary relevance, and provides a rather devastating example of how that decline in relevance takes place:

In his prime, Roger Zelazny wasn’t some niche cult figure, he was one of the biggest names in speculative fiction, standing shoulder to shoulder with the New Wave heavyweights of the 1960s and 70s. His novel Lord of Light is often remembered as his breakout, and it was certainly his most decorated, winning the Hugo (when it meant something) and cementing his reputation, but Zelazny’s real impact was broader and more sustained. He was a constant presence in the major magazines, a multiple Hugo and Nebula winner, and one of the few writers equally comfortable blending myth, science fiction, and fantasy into something distinctly his own. By the time The Chronicles of Amber hit in the 1970s, he wasn’t emerging… He was already established, and Amber became the work that proved he could translate that critical acclaim into lasting popular success.

Except it didn’t last.

Roger Zelzney’s old hard covers frequently go for three digit figures and I’m not talking Easton Press editions either. But his works are mostly published directly by his estate on Kindle.

Roger Zelzny is moving from the thing everyone knew about to the guy who is studied by writers. Most of his works have six figure sales ranks on Amazon.

And when Gen X is gone, he’ll be forgotten.

Zelazny, at his best, was very good. He wasn’t a first-rank SF/F author, but he was at the top of the second rank. And it’s true, he has been largely forgotten today, which is deeply unfortunate.

As an author, I’m aware of this phenomenon, which is why it has been my intention to release my books into the public domain upon my demise. The advent of AI and the lowering of barriers to entry in the video market may inspire me to rethink that, but at present, the way in which copyright guarantees that all literary properties are eventually acquired and controlled by corporate interests inimical to the long-term interests of an author’s literary legacy means that the best way to combat that is to put one’s works into the public domain immediately upon one’s death.

The problem isn’t that the corporate interests can alter the original works, but rather, the way in which they alter the common perception of the author’s works. How does the average Gen Alpha individual distinguish between The Hobbit and The Rings of Power, or between The Two Towers and whatever abomination Stephen Colbert and Peter Jackson end up concocting?

The only way to level the playing field between the community that loves the literary creation and the corporate interests is the public domain. Indeed, the public domain is the only reason that classic, but hitherto unknown works from the likes of Yoshikawa Eiji and Benito Pérez Galdós are able to be published in English, which is a project you can support via the Castalia Library. We’ve already translated nine works by these two authors, in addition to other amazing novels by Ozaki Koro, Oguri Mushitaro, Naoki Sanjūgo, and Luigi Capuano.

Who are they, you ask?

Exactly…

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Arkhaven Nights

It’s going to be lit tonight on UATV and JDA’s YouTube channel. In the aftermath of the inevitable Star Fleet Academy cancellation, Robert Picardo has been attacking both JDA and Space Fleet Academy even as two new books in the Biostellar universe are released and a third new one – Space Fleet Academy: Year Three – is announced.

If you’re not subscribed yet to UATV, you’re going to want to do so soon as we are back in feature-adding mode now that the back-end work is complete. Also, I can announce that the fifth Biostellar novel, THE CRUEL OBLIGATIONS, will be out in May. Our objective is to turn Biostellar into a universe that is bigger than Star Trek, more epic than Dune, and harder science than KSR’s Mars series.

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THE CRUEL EQUATIONS

The science is real. The math is remorseless. The choices are impossible.

When Federation inspectors walk through a children’s hospital on the colony world of Verlaine and frown at the survival rates, Deputy Health Minister Jean-Marc Bergeron knows what’s coming. The numbers are too positive. Too many children are surviving to adulthood. And the Human Genome Mandate, the iron law that has governed humanity’s expansion across the stars for four centuries, demands change.

The Federation’s demand: raise Verlaine’s mortality rate from 2 percent to 15 percent. Let two and a half million people die every year. Dismantle the advanced medical system that three generations of colonists bled to build. All of this must be done to satisfy a statistical coefficient on a spreadsheet in an office on Earth.

The reason is non-negotiable: the human genome is degenerating. Natural selection stopped operating over five hundred years ago, and every generation since has accumulated mutations that cannot be purged. The math is not speculation. It is not a theory. It is a measured, validated, ticking time bomb of extinction, and the only proven solution demands that someone’s children pay the price.

The people of Verlaine say no.

What follows is a masterwork of hard science fiction: a blockade that strangles a world by degrees, an assassination that serves someone else’s agenda, an orbital strike that intentionally targets a defenseless world, and one man’s agonizing journey at a cost that mathematics can calculate but the soul cannot bear.

Set in the same BIOSTELLAR universe as the bestselling Space Fleet Academy series.

The Cruel Equations shows the other side of the universe that cadets like Constantine Ramsey are being trained to defend. The Academy teaches its students to make the hard choices. The Cruel Equations shows what those choices look like when they land on a world of 340 million people who never asked to be a test case for humanity’s survival.

The hardest science fiction you will ever read.

The Frozen Genome crisis at the heart of the BIOSTELLAR universe is not invented. It is drawn directly from cutting-edge population genetics, including problems with foundational assumptions in evolutionary biology that the scientific establishment has not yet confronted. The Cascade Drive is fiction. The Frozen Genome is not.

In addition to THE CRUEL EQUATIONS, SPACE FLEET ACADEMY: YEAR TWO was also released and SPACE FLEET ACADEMY: YEAR THREE is now available in preorder, bringing the number of books in the new Biostellar series to four.

If you didn’t understand the significance of science brought to light in THE FROZEN GENE, then THE COLD EQUATIONS should suffice to do so. While we can certainly hope that one of the more static scenarios are in play, there are more than a few indications that humanity’s fertility is not falling due to various external measures, but because of the mutational degradation of the human genome.

This is true hard science fiction in the original sense of the genre, albeit the science is population genetics rather than physics.

UPDATE: As a bonus, a copy of THE CRUEL EQUATIONS was also sent out to the Library substack supporters. Next Monday’s book will be THE KAMIGATA SCROLL by Yoshikawa Eiji.

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SANSHIRŌ by Natsume Sōseki

“You have no nerve at all, do you.”

With those words from a woman he will never see again, Sanshirō’s journey to Tokyo truly begins. Published in 1908, Natsume Sōseki’s Sanshirō is one of the most subtly perfect coming-of-age stories ever written.

Ogawa Sanshirō is twenty-three, fresh out of his provincial college in Kumamoto, and arriving at Tokyo Imperial University with a head full of vague ambitions and no preparation for what he finds in the city. A stranger on the train tells him Japan is doomed. A woman standing by a pond glances at him once, and that one glance changes his life. He has entered, as his fast-talking friend Yojirō informs him, three worlds at once — the academic, the real, and the imaginary — and he is not sure which world is the one where he belongs.

Sanshirō is a novel about the distance between what a young man sees and what he understands. Sanshirō watches everything and misses everything. He is observant, earnest, paralyzed at every decisive moment, and so thoroughly out of his depth that the reader grasps what is happening to him long before he does. Sōseki handles his hero with a tenderness that never becomes pity and an irony that never becomes contempt.

This new translation by Kenji Weaver, whose acclaimed translation of Sōseki’s Kokoro introduced a new generation of English readers to Japan’s greatest novelist of the Meiji era, captures the novel’s luminous stillness and psychological depth in clean and highly readable English.

This was a more difficult work to translate satisfactorily, since unlike Botchan and Kokoro, Sanshirō already had been translated very well by Jay Rubin, who is best known for translating Haruki Murakami. However, improvements to our translation system and the heroic efforts of Kenji Weaver did, on the fourth attempt, manage to reach the high level of quality we deemed necessary to justify releasing a new translation of the classic 1908 coming-of-age novel.

As I mentioned yesterday, we have now officially launched the weekly translation subscription at Castalia Library. So, if you are either a) a voracious reader or b) interested in supporting what may be the most ambitious program of bringing untranslated works to the English language ever proposed, you can support Castalia’s efforts and receive a newly translated ebook every Monday by signing up for a paid subscription to the Library site.

Of course, we’re just as happy if you prefer to simply buy whichever books happen to appeal to you as they come out. Because I can assure you that the next two series of translations, by Yoshikawa Eiji and Benito Pérez Galdós, can legitimately be described as absolute bangers. Sanshirō is available in Kindle, KU, and audiobook formats.

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Can it Get Worse?

I’m pretty sure that if the champions of the printing press were given the opportunity to see how their magnificent new device would transform the written word into a means for women to write about their sexual fantasies involving demons, monsters, and the dead, they would have burned every last one of them.

One of its principal attractions was that it had the potential to democratise knowledge. In the past, the high cost of manuscripts had meant that only the well-to-do could afford them. Now that books could be produced in large numbers, however, printed volumes could be sold for much lower prices, making them available to those of lesser means for the first time. As Bussi remarked, it was possible for even the poorest to build a library of his own and for learning to become accessible to all. Excited by the prospect, some of those associated with presses began writing texts explicitly targeted at furthering the spread of knowledge. In 1483, for example, Fra Iacopo Filippo Foresti of Bergamo (1434–1520) published his Supplementum chronicarum. A sort of ‘bluffers’ guide’ to world history, this was expressly designed to make available to the masses knowledge which had previously been restricted only to the few.

As many observers recognised, this had a range of knock-on benefits. For some, the most important of these was permanence. According to the Florentine humanist Bartolomeo della Fonte (1446–1513), printers could ‘confer eternity’ on whatever they produced. Since printing put more books into circulation, he reasoned, it would ensure that ancient texts were less likely to be lost, and it would crown modern authors with certain fame. Others believed that the ‘flood’ of new books would lead to moral enlightenment. There was some justification for this. Recent research into domestic life has revealed that books of hours were by far the most commonly owned texts; and, as Caroline Anderson has argued, the fact that these books were often kept in the camera (bedchamber/dayroom) suggests that they were read on a daily basis, including by women. It was hence only reasonable to assume that, as printing spread, so virtue would also grow. For the Franciscan friar Bernardino da Feltre (1439-94), God had shed ‘so much light on these most wretched and dark times’ through print that there was no longer any excuse for sin at all.

But not everyone was so enthusiastic. Others, for whom novelty and progress were far from synonymous, regarded printing with open hostility. Of these, none was more vehement than Filippo de Strata.

Like many of his contemporaries, he did not have any particular objection to books as physical objects. Although he is almost certain to have preferred manuscripts, he does not seem to have thought that printed works were, in themselves, unworthy of being read. Printers, however, were another matter. Much like his contemporary, the historian Marcantonio Sabellico (1436–1506), he reviled them as much for their ‘plebeian’ ways as for their foreign origins. To his mind, they were beggars and thieves who had no appetite for work but were always hungry for money. They had come to Italy, babbling in that ugly language of theirs, with no other goal than to put scribes out of a job. What was worse, they had no sense of propriety either. Drunk on strong wine and success, they were hawking books to every Tom, Dick and Harry. In doing so, they were not democratising learning — as Bussi and Foresti liked to believe — but debasing it. Whereas, in the past, the expense and scarcity of manuscripts had ensured that great care was always taken over the preparation of texts, the ease with which books could now be printed — coupled with the intense competition between presses — had led to all manner of rubbish being churned out. These days, Filippo argued, you could hardly open a volume without it being festooned with errors. This clearly did immense damage both to classical scholarship and to education. By putting such defective texts into the hands of the masses, he claimed, even those who could barely speak the vernacular would feel qualified to teach Latin. But since printers were interested only in making a quick buck off such ‘unlettered’ fools, they had no incentive to do any better. All that mattered was getting a new edition on the market as quickly as possible, irrespective of its quality.

For much the same reason, Filippo also believed that printing was a threat to public morality. If printers had sold nothing but religious works, it might not have been so bad; but because they were interested only in profit, they were trying to attract new readers by appealing to their baser instincts. All manner of bawdy and unsuitable volumes were being produced: from the torrid love poetry of Tibullus and Ovid, to the worst kind of modern filth. Given how cheaply such books were sold, it was inevitable that vice, rather than virtue, would flourish.

As an avowed champion of textual AI, it is more than a little sobering to observe how the skeptics of past technological innovations have not only been proven right, but proven right beyond their wildest imaginings.

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A True Soulsigma Fan

Or maybe he’s talking about Vibe Patrol?

As predictive as Vox’s SSH is, I have to admit, I am happy that he is on track to leave a significantly more profound legacy than that would offer. If you’re not paying attention to Vox Day, you are missing out on one of the most important minds of the last 100 years, hands down.

I expect the usual suspects are going to have a field day with this one… It’s kind of a pity they won’t be around to witness history’s eventual verdict.

On an unrelated note, the German edition of Probability Zero is now available in hardcover from Editions Alpines. This is not an AI translation; special thanks to Urs Hildebrandt who personally translated it from English into that most melodious of languages. Wahrscheinlichkeit Null… it just rolls beautifully off the tongue, doesn’t it!

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The Return of Appendix N

I would be remiss if I did not let everyone know that Jeffro Johnson’s excellent APPENDIX N: THE LITERARY HISTORY OF DUNGEONS & DRAGONS is available again on Amazon, in hardcover, Kindle, Kindle Unlimited, and audiobook.

APPENDIX N: The Literary History of Dungeons & Dragons is a detailed and comprehensive investigation of the various works of science fiction and fantasy that game designer Gary Gygax declared to be the primary influences on his seminal role-playing game, Dungeons & Dragons. It is a deep intellectual dive into the literature of SF/F’s past that will fascinate any serious role-playing gamer or fan of classic science fiction and fantasy.

It even features a lovely introduction by John C. Wright.

Imagine if you had lived in a house for decades, as had your father before you, and grandfather, and you thought you knew all its halls and chambers. Idly, some rainy day, or when the snow has covered all the roads, you take up a lantern and go to see what is stored in those old boxes in the cellar, or where that one small door you never opened before leads.

You pry the door open, and it groans on rusted hinges, and beyond are caves of wonder, heaped with treasure. Here, like a column of fire, stands a strange genii and other spirits bound to serve your family. They are willing to carry you whirling through the air like an autumn leaf, in less time than it takes to gasp in awe, to far and fabled lands beyond the cerulean ocean, to elfish gardens of dangerous glamor, to jeweled mountains, alabaster cities, or perfumed jungles dreaming in the moonlight where ancient fanes to forgotten gods arise. The genii explains that all these things are yours, your inheritance. You have merely to claim them.

Or, to make the image more true to life, let us say that you are exploring the attic, and you find a handcrank connected to an orrery, worked by a silver key you have always worn but never heretofore found to fit any lock. Turning the crank, you move the model of planets on their epicycles back to an earlier position: trumpets blare and lamps blaze, and now parts and opens the dome of what you had, until now, thought was the sky above your house.

You find yourself in the middle of larger heavens than you knew, with gem-bright suns of many colors, constellations rearing, moons and worlds like colored ornaments, and bearded stars in the high depths of space like runners with torches. And there are worlds beyond those worlds.

Here you find your grandfather, in armor of gold with a sword of white fire, still young and strong, and discover him to be a sorcerer prince, or a dark elf, or a warrior angel, whose ichor runs in your veins as well. All this explains that strangeness that has haunted you all your life.

So it is with all readers and fans of science fiction and fantasy, weird tales and amazing stories who have never looked at the older books from which the younger books spring up. These are tales from beyond the shelves you know, realms unexplored yet oddly familiar.

Jeffro Johnson was the man with that silver key to unlock the older heavens or call up the genii you inherited from the past. It started simply enough: he wrote a series of columns taking as his theme the books listed in Appendix N of the older rules for Advanced Dungeons & Dragons written by Gary Gygax.

And the list is nothing exceptional: nearly anyone alive in those days (as I was) and was familiar with fantasy or science fiction reading of the time (as I was) asked to compile a list of the essential books and authors would, no doubt, have issued nearly the same list. The world was smaller in those days, and we who read science fiction were a breed apart, in our own quarter, and a bookish fan could have read or been familiar with all the talented writers in the field, and the many of the untalented.

But like the man who explores his own basement and find a treasure trove, or opens his ceiling and finds the heavens rolled back like a scroll, Jeffro Johnson made an astonishing discovery: the things he had been told about the old books, the old pulps, the old days were misleading, or even false.

Because there was good stuff here!

Like a single spark in the dry leaves, other columnists and other readers began to reread the Appendix N books, and find that sense of wonder some writers seem willfully to wish to extinguish. Some modern books, sadly, are like a Xerox of a Xerox, and the freshness of the original is lost. Some are written in rebellion against ideas and themes in older works, but the nature of the rebellion is hidden from any reader to whom the old worlds are closed.

The genres were not demarked so clearly then, and the guards at the borders separating one kingdom from another were wont to nod and sleep, or wave through the wonder-hungry traveler without checking his papers. Works written in established worlds, Star Trek and Star Wars or Warhammer backgrounds, were utterly unknown.

Now imagine that there are some (they are rare, but they are real) whose mission is to bar you from those books, and see to it that you never enjoy the luxuries of your inheritance, or drink from the winebottles your grandfather laid down in his cellar long ago. All fashion of sneering accusation spills from these Grand Inquisitors, most of it senseless, telling you either that the artistic tastes or the personal flaws of those writers or those times render their work unfit.

Ignore the Thought Police. Read. Decide. Learn to enjoy what you enjoy. Because the heritage belongs to us all. And who knows? You may find the books that your favorite author read as his favorite books when he was young. All these worlds are yours. You have merely to claim them.

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Wizards and Their Games

I absolutely refuse to believe that this is a mere statistical coincidence one day after the release of the Big Bear’s first book, HOW TO SLAY A WIZARD.

That was earlier this morning. It’s already up to #374 #277 #246, which makes it the bestselling book of all the various category bestsellers that Castalia House has published since December. It certainly would be remarkable if it made it all the way to the top of Amazon.

Bears, it’s up to you. In the meantime, the Gammas are showing up, as expected.

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HOW TO SLAY A WIZARD

Owen Benjamin has published his first book, HOW TO SLAY A WIZARD. It is smart and it is funny, and it is much deeper than you would ever tend to expect at first glance.

THE SECRET GUIDE TO WORD MAGIC

Spelling is called spelling. Cursive is called cursive. And the most dangerous man in comedy just wrote a book explaining why.

Owen Benjamin grew up hiding under a cardboard desk to survive a nuclear blast, eating margarine because the food pyramid said so, and learning about heroin from a cop who made him act out an overdose in school. He was taught he descended from a primate through random mutation, that he was spinning on a ball of liquid nickel inside an explosion that came from nothing, and that the stars he saw at night were already dead. Then he was tested on everything and told he was smart because he could repeat all of it.

He became a comedian instead.

How to Slay a Wizard is about the people who run the tricks, the tricks themselves, and the one lie at the root of every spell ever cast on a living man or woman. It is not a political book. It is not a religious book. It is a book about manipulation, who does it, how it works, and why it requires your participation to be effective.

Starting from the dictionary definition of “wizard” and working outward through the mechanics of hypnotic language, the economics of fiat currency, the psychology of the con, the architecture of propaganda, and the spiritual sickness that turns a liar into a monster, Owen dismantles every major spell of the modern age and shows you exactly what they have in common. Every spell follows the same structure. Every spell requires the same ingredient. And that ingredient is you.

This book will teach you what a wizard is, what an alchemist is, and why the difference matters. It shows how spells are structured like jokes that never deliver the punchline. It explains why the most forbidden word in America is forbidden and what the vampire myth is actually describing. It tells you how to spot a liar before the lies take root. And at the very end, the book exposes the one lie that has to be believed in order for any of it to work on you. It is so simple you might laugh. That’s the point.

Once you see the secret spells, you will never stop seeing them. And then the wizards can no longer deceive you.

HOW TO SLAY A WIZARD is available via Kindle, KU, and audiobook. Paperback and hardcover editions will be released in about a month. And even if you don’t use audiobooks, listen to the audiobook sample…

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