Caveat

With regards the reviews I write, I feel it is necessary to provide this caveat.
The initial section right up to the button that opens the full synopsis is the teaser where I try to give a look into the book without revealing too much.

The section within the button is a full synopsis. No detail will be hidden at all.

Be warned!
The final section (Food for thought) is a series of thoughts on the book. This is a personal take on the book and does mention important parts of the books. It should be considered as much of a spoiler as the previous section!
Showing posts with label Military. Show all posts
Showing posts with label Military. Show all posts

Saturday, 20 September 2014

Book Review: The Puppet Masters by Robert A. Heinlein - 4thwallfly

Welcome to the Fly on the 4th Wall. Today we're going back in time to review a book that is somewhat dated but reflects the period very well, xenophobes and McCarthyists be warned, we're looking at you, in:
The Puppet Masters by Robert A. Heinlein:
Cover art copyright of Bob Eggleton

'PUPPETS, MEET YOUR MASTERS

First came the news that a flying saucer had landed in Iowa. Then came the announcement that the whole thing was just a hoax. End of story. Case closed. 

Except that two agents of the most secret intelligence agency in the U.S. government were on the scene and disappeared without reporting in. And four more agents who were sent in also disappeared. So the head of the agency and his two top agents went in and managed to get out with their discovery: an invasion is underway by sluglike aliens who can touch a human and completely control his or her mind. What the humans know, they know. What the slugs want, no matter what, the humans will do. And most of Iowa is already under their control. 
Sam Cavanaugh was one of the agents who discovered the truth. Unfortunately, that was just before he was taken over by one of the aliens and began working for the invaders, with no will of his own...' - The Puppet Masters, Robert A. Heinlein [1951]

The Puppet Masters is a book about mankind's struggle against an extraterrestrial invader that can not only hide itself from humankind but also take control of human beings. It is told from the perspective of Sam Cavanaugh, an agent of the Section (a secretive intelligence agency above that of the CIA) and set in a 'future' that holds very few similarities with our present. Sam's world, for example, still features the USSR (Union of Soviet Socialist Republics) as a world power that hides behind the Iron Curtain (from Churchill's famous speech). He has a mobile phone in the form of a surgically implanted phone in his cranium and drives an aircar (an old term for a flying car). The world itself has recovered from the Third World War which was implied to have been between the USSR and the USA. In this future, mankind has already spread to parts of the solar system and encountered the Venerians (Venus-inhabiting aliens). Despite this though, the tale takes place almost entirely on Earth.

A very enjoyable tale, though as a reader, you can't help but feel a bit of detachment from the book's language and setting. There's alot of slang that frankly isn't used anymore at all which adds to the sense of confusion within the story because it can be hard to tell when something is slang and when it isn't. For example, Heinlein uses the word 'burn' when describing Sam's use of a gun, which at first had me thinking (because this story was in a future setting) that the weapons involved were some sort of laser (or thermal induction weapon for the boffins), however, a single reference to an Owen gun suggests that it is just slang for 'shoot' (an Owen gun is a 1939 era sub-machine gun), which is verified by the use of the word 'heater' to refer to his gun (slang for a handgun).Unfortunately, this can make reading the book something of a struggle. Despite that though, this is still a very entertaining read and a fascinating insight into the conceptual ideas of the 'future' that were had in the 1950s. However, the book's setting is only glimpsed at through occasional remarks from the characters (acting as if the reader would be already familiar with these events).


Click below for the full synopsis (click to open/close):



Food for thought:

It is important to remember that this book is a product of the late 1940s, printed in 1951. Much of its content derives from events surrounding this period and the book itself is a reflection of the taste of the period. The concept of UFOs (Unidentified Flying Objects) and their classical 'saucer' shape is a dated one. Today, the flying saucer is usually seen as a sign of parody rather than a 'serious' take on science fiction. However, during the late 1940s, UFOs were a new, exciting and popular topic. From the crash of an Air Force surveillance balloon in 1947 at Roswell, New Mexico, to the 1948 hoax at Aztec, New Mexico and from stories of 'foo fighters' by pilots who served in the Second World War, the American populace was hyped, primed and entranced at the ideas of visitors from outer space. The Puppet Masters is simply a play on those fears and wild speculations by presenting a tale that not only has a genuine UFO crash but also a sinister reason for the 'coverups' that occur shortly afterwards.

The 'enemy' is a mix of the two enemy ideologies that the American populace of the time could easily identify with (though leaning heavily left). The first being the spectre of fascism, that enemy only officially overthrown in 1945, six years before. The jackboot marching and blind obedience that the concept of fascism invokes (or ultra nationalism as it is known today) is conjured in the effortless control that the Titans (the aliens) have over their victims while the sense of secrecy and the fact that the Titans are, in fact, one connected organism creates the spectre of Communism, a unified society that seeks the improvement of the human race and the ushering in of an 'utopia', although it is an utopia that benefits the Titans first and foremost.

In some senses, this book is a play on the differences between autocracies and democracies. It makes a play on the power that control of information can have, something that was quite well known at the time. Our conception of the world around us is entirely derived on what we can find out about it. This is the story of democratic society defeating autocratic, of people who question defeating a people who don't (or in this case, can't).

On the topic of the power of control of information; for example, everyone knows that the Earth orbits the sun. Why? Because we have been informed that this is factually correct. As an individual, I have never been into space (so I've never been able to directly observe the Moon's orbit, which would prove that smaller objects orbit larger ones) and I've never touched a telescope (which would allow me to view the phases of Venus or Jupiter's four biggest moons). Effectively, this means that I have chosen to take the fact that the Earth orbits the Sun on faith, I can't really claim to know 'better' just because my view is shared by the rest of the world. The very nature of the Titans is part of that play on the power of information. Had mankind understood the threat that was arrayed against them when that UFO first landed in Iowa the war would have been a short one. Instead, the Titans manage to extend themselves not by outright dominion but by careful selection, starting with the channels of communication, the broadcast networks, then moving on to local administration, such as the police force and politicians.

The Puppet Masters makes the point throughout the book of the folly of simply accepting what we're told by the media. Heinlein was sounding a warning in 1951 of the dangers inherent in a system that controls information (such as for example... the only other major economic and military competitor after the 2nd World War; the USSR). In today's society, there's a large amount of scepticism and cynicism. We're used to the idea that the media has a slant. However, unless direct evidence reaches us, we're inclined to believe whatever the majority believes (usually the majority belief is factually correct, but not always). Remember the adage: "Knowledge is power." This is the main theme throughout the novel!

There is a subtle take at the reactionary power of a democratic government. When the Section discovers the threat of Titans, the President fails to act immediately on it, choosing to try to pick the most politically advantageous time to reveal this information. An autocratic society would have acted faster and more decisively, but democratic societies are not designed in any way or form to be 'efficient' (in a ruthless sense), they are instead designed to counter the power given to the elected officials. A system of checks and balances exist to ensure that the leader of a democratic society cannot choose to act autocratically.

There's also the whole 'public nudity' take. Schedule Bareback and Sun Tan are not very shocking in today's society. Sure, most people aren't comfortable with dropping their trousers in the middle of a street, but intellectually, we know about nudist colonies and beaches, we know that there are some people who do actually do that. It's not such a great shock. However, in the 1950s, Schedule Bareback and Schedule Sun Tan would have come across as big shocks. Naturally, there is a small point made about what we are willing to sacrifice for the promise of greater security. Initially, Sam notes that quite a few places in Zone Green expressed confusion and uncertainty about the need for Schedule Bareback, but as the Titans go from being an incorporeal fear to an actual, living, breathing fear (sometime after the air-raid shelter incidents) then the majority of resistance to Schedule Sun Tan disappears. It is a fact in life that citizens will happily give up their rights if they are convinced that the security offered will counter their fears.

All in all, the Puppet Masters is a great tale. An enjoyable story despite its quirks, though there are a few. Many of these quirks are just a reflection of the times in which the book was written. There's a very clear anti-Soviet tone throughout the book, but this should not be so surprising. America was under threat by the growing strength of Communism (and in the 1950s it certainly was growing). From the American perspective, alot of the world was arrayed against them by the late 1940s. Russia had spread Communism to Eastern Europe while Western Europe was struggling to rebuild. In 1949, Chiang Kai Shek's fascist government (supported by American equipment and funds) was forced to flee to Taiwan by the Chinese Communist Party, never to return and in 1950, the wealthy, industrialised and Communist North Korea declared war on the poorer, more agriculturally based South (with huge initial successes). At the time of the publication of The Puppet Masters, Communism was in the ascendancy. In addition to these external political factors, internally, America was still gripped by Senator McCarthy's 'Red Scare.' As such, the Titans in the book are a clear 'enemy' that any American reader of the time could immediately identify with and reject as evil.

There's nothing wrong with this. British novels (for example) tend to use the Nazis for inspiration when it comes to finding some big, evil entity for a novel (look at Harry Potter and Voldemort's SS Death's Heads sorry, Death Eaters, complete with skull motif, black robes and questionable ethics regarding the purity of the master wizard race). What is wrong is the idea that the world is so black and white. There's them and us. There's the USSR in the book that dropped atom bombs on America, and US (the United States). There's the United Nations not really doing much to help and US. Black and White or Blue and Red, your choice. That in itself I felt was a disappointing aspect of the book, the fact that the villains lacked any real complexity. There wasn't even a suggestion of survival there, the only interview with the Titans had boiled down to 'we do it because we like it.' If the Titans really do steal culture as much as they steal bodies, why then did the Titans fail to develop anything mentally more challenging than spreading themselves? Culture is more than just a single boxing match. Yes, Sam questions on numerous occasions whether the Titans were actually sentient or just had an animal level of instincts, but when he himself is possessed by them we can see that the Titans are using his intellect and training to their benefit. Human beings are complex creatures, and Sam himself is able to develop complex plans to benefit his master. It is almost disappointing that the Titans never then develop a successful or complex strategy against Zone Green beyond endless attempts to infiltrate the zone.

The other quirk is the language. It is an understandable issues, but is still jars from time to time. Slang is a good way to reach your contemporary audience, as they will understand the terms you use and identify (empathise) better because they themselves use those very terms. However, once the language changes (and language always does evolve), it remains within the text awkwardly, no longer able to create a common bond of empathy and instead invokes confusion. As mentioned at the top, I spent the initial chapters assuming that Sam was armed with a laser on the assumption that 'heater' and 'burn' were words that would apply to a weapon of that sort. However, the Internet has kindly informed me that burn and heater are slang for shooting and pistols respectively.

One last quirk is Mary. Mary is portrayed initially as a strong, fierce woman. Note I didn't say she was independent. Yes, modern feminism and concepts of gender equality were still being developed in the 1950s, but nonetheless Mary comes across as an innately depressing character. Here is the female lead to Sam's male lead. She's tough, a competent agent, but cannot for the life of her think for herself. With only one or two exceptions she ends up just being an echoing device for Sam's wishes and desires, most notably around their marriage.

That one final issue I had was the ending. Robert A. Heinlein pulls a 'Deus Ex Machina' in the form of a very convenient biological solution to the Titans. It's not a big deal, since Heinlein usually writes quite optimistic tales (even a book with a premise such as The Puppet Masters ended on a cheerful note). Earth was in the clear, though the planet must remain vigilant as mankind takes to the stars to exact some rather old fashioned revenge. However, despite all that, I reiterate that I enjoyed the story. It's a nice insight into the thinking of the 1950s, the language is hard to understand at times when the slang appears but it doesn't detract from the enjoyment of the story.










Saturday, 30 August 2014

Book Review: The Age of Odin by James Lovegrove - 4thwallfly

Welcome to the Fly on the 4th Wall. Today we'll have a review of:
The Age of Odin - James Lovegrove
Cover art copyright of Solaris.

Before we start though, a brief word of warning. The book contains a large amount of profanity. This is because the main character is an ex-army soldier, and the book is told from his point of view.


'Gideon Coxall was a good soldier but bad at everything else, until a roadside explosive device leaves him with one deaf ear and a British Army half-pension. So when he hears about the Valhalla Project, it's like a dream come true. They're recruiting former service personnel for excellent pay, no questions asked, to take part in unspecified combat operations.

The last thing Gid expects is to find himself fighting alongside ancient Viking gods. The world is in the grip of one of the worst winters it has ever known, and Ragnarök- the fabled final conflict of the Sagas - is looming.' The Age of Odin - James Lovegrove 

The Age of Odin follows Gideon Coxall as he experiences the worst winters that Britain has ever known, driving through a storm towards as far north in England as you can get before 'Och-aye-the-noo' land. He travels with a stoner and ex-army friend with the unfortunate nickname "Abortion." From a modern perspective, the world setting at this time would be akin to the start of an ice age, the entire world experiencing a snowy winter. 

The entire story is set from Gideon's perspective from start to finish, giving us a very personal view of the events occuring around him. Gideon is determined to be master of his own destiny, which provides an odd contrast to the fact that we (the reader) are aware that the saga of Ragnarök is exactly that, a story with a fixed number of events that occur in sequence. However, the saga only really begins after Gideon finds himself before Asgard Hall (named after Asgard, the world of the Norse gods).

From there, Gideon finds drawn into a world of fantasy that somehow blends with the reality around him. It's a world so very different from our own that there are times that Gideon himself initially struggles to come to terms with the facts of his situation. Although part of that struggle is the struggle to accept that the world he thought he lived in was not the real world.

The Age of Odin is one of the many books written by James Lovegrove that have begun the 'Godpunk' genre. In fact, the entire collection is being referred to as the 'Age of Godpunk.' Godpunk is derived from the term 'Steampunk.' Steampunk is a sub-genre of science fiction that refers to (most commonly) an alternate Victorian-era Earth in which steam-powered machinery represents the height of human achievement within industrialised nations (that would resemble the Western powers at their heights during the Industrial Revolutions they experienced.

Godpunk has so far referred to a curious blend of mythology and the post-modern reality (here meaning a future not too far removed from our current existence). The Age of Odin for example, sets the saga of Ragnarök as a shadow to our own world's machinations, ending with a dramatic climax that shapes the course of the otherwise ignorant world. On the other end of the spectrum though, Age of Ra and Age of Aztec (to name two of Lovegrove's other works) reveal worlds where the mythology is a fact of life, where the world is ruled by the Egyptian and Aztec gods in turn, hence Godpunk. 

Ragnarök is part of Viking mythology and depicts a series of future events that will culminate in the effective destruction of life as we know it and restart the world afresh. It's detailed in several poems and can be treated, if you will, as an event similar to the judgement day of the bible. However, unlike judgement day (which concerns mankind alone), Ragnarök involves the Norse (Norweigian) gods in a climatic battle that ends with the death of most of the Viking pantheon and the nine-worlds in which they live. In Viking mythology, Earth (called Midgard) is just one part of nine worlds that are the totality of creation.


Click below for the full synopsis (click to open/close):




Food for thought:

At first glance, this book appears simply to be a high-octane military thriller. However, this book is about more than that. The Age of Odin, like James Lovegrove's other books is about the power of faith, about the quandary of fate and free-will, and ironically, about the strength of humanity.

The book has a plot which is over-the-top. The conceptual idea is fascinating, and despite all the profanity within the novel, I felt it had captured the spirit of a 'standard' British Army soldier quite well. The profanity and snarky humour works because Gideon Coxall is exactly that, a man who has 'cocked up everything' (Coxall get it?) and is left a somewhat bitter but defiant person. He's not normal in any meaningful way because of his penchant for violence which seems at odds with our understanding of today's society. 

The trouble with Age of Odin is a simple one. Gideon. Gideon is a self-admitted 'loser' in the sense that he can't manage to hold a job, can't live a civilian life nor manage to be a good father/husband. At the same time though, if he were a classical square-chinned Hero of Hollywood movies sort, this book wouldn't work, it'd be boring. It does mean though that the reader is left with the sense that Gideon had been awkwardly shoved into his various roles in the story.

That said, I find I can forgive this because Ragnarök itself originates from a massive epic that was unrealistic anyway (as is always the trend with mythological stories). There is no way to condense it without making the story itself feel rushed and disjointed. Many of Ragnarök's monsters and villains are strange and weird but again, this is to be expected. It is a shame to see Gideon adopting such an important role in the plot but again, I understand this as a narrative necessity to ensure the reader is able to experience as much of the Ragnarök tale as possible.

However, this book has a number of interesting concepts. The best of which is Gideon questioning Odin about God (as in with a capital G, the God that Christians believe in). Most books won't touch God because of how it can be percieved. Odin merely states that he has never met God, if he exists, but then goes on to state that if he didn't exist, Odin wouldn't want to believe in him. This is a bone of contention that is often missed from the Christian perspective. God is a model citizen (and Jesus too if you will). We are expected to emulate God to be better people, that is the nature of God. 
The gods of the Viking people were attributed all sorts of powers and credited for a great many things, but they were still human and this was because Aesir (Viking gods) were flawed creatures, prone to jealousy, anger, fear, selfishness as much as any mortal was. God is not human and from the Viking perspective, God was cruel. The Viking gods are not omnipotent, nor omniscient. The flaws in the world are just as much their fault as man's. God however, is both omnipotent and omniscient. Doesn't this imply that He was well aware what would happen in the Garden of Eden? On some level, does this not imply that He in fact sets man up for their fall from grace? 

The other interesting part of the book is the question on fate and free-will. Ragnarök is a very grim time for Odin and the other gods, not because they are fighting for their lives, nor because this marks the end of days. It is grim because Odin and the other gods are constructs of mankind's faith. They are gods because they were believed to be gods. Effectively, this means that they know when and how they die, but at the same time, they cannot do anything to change that. It raises the quesiton of free-will neatly. Odin indicates in the story that the Aesir came about because people believed in them long ago, he also indicates that the gods can only die at the right time and place. For Odin it was in the belly of Fenrir, for Thor is was in the jaws of Jormungand. On the one hand, they have no free-will, their fates are already known, told and written down long before the modern era, but on the other hand, they do not see themselves as lacking free-will because their characters are such that the alternative could not be considered. This can be extended to mankind. 

Free-will is predicated on the concept of having a choice, getting to determine your own fate. However, on some level, we cannot ever be truly free because there are some things our consciousness or inner character would not let us do. Classic arguments of free-will are often extreme examples such as: "If I can guide my own fate, I can, for example, choose to jump off a bridge." But we can use a less extreme example, "If I can guide my own fate, I can, for example, choose between eating a chocolate or a fruit." In my own case, I love chocolate and nine times out of ten the answer would be: the chocolate. In which case, do I have free-will? Or merely the illusion of it? I'm not being forced to take the option I want, but I do not necessarily consider that there is an option at all. 

To use an example from the book, at any point does Gideon have any free will? The Norns state that to a Hero there are any number of paths, but Gideon is a man built by the life he has lived (as demonstrated by the Norns), and so, was there really any other path than that which he chose?

The final food for thought is this concept of the strength of humanity. This book involves gods of all shapes and sizes, but is ultimately about mankind. Here, Odin has revealed that effectively, mankind is the ones who create gods, mankind fashions them in our image. The turning point of Ragnarök is not the gods themselves but the humans serving under them. When Loki needed to bring the tools of Ragnarök to bear, he did not take the real Fenrir, Jormungand or Nagelfar, he instead preferred to use their man-made mimics. To quote Shakespeare:
'All the world's a stage, 
And all the men and women merely players.'

The whole story works as a play on that concept. Ragnarök is almost literally a stage, it's a Viking myth with a set of pre-conceived events. The players on the stage (here the Aesir) have no choice regardless of how they feel, but to act out the play to its fulfilment, and on some base level, it implies that gods and devils arrange themselves for our (mankind's) sole amusement. 

Thanks for reading!

Sunday, 24 August 2014

Book Review: Starship Troopers by Robert A. Heinlein - 4thwallfly

The film left me terrified as a child, the book was nonetheless enjoyable. Welcome to the Fly on the 4th Wall where we shall review one of the 'classic' science fiction books:
Starship Troopers - Robert A. Heinlein
Cover art copyright of James Warhola

Synopsis:
 "Join the army and see the universe! In one of Robert Heinlein's most controversial bestsellers, a recruit of the future goes through the toughest boot camp in the Universe - and into battle with the Terran Mobile Infantry against mankind's most alarming enemy!" - Starship Troopers, Robert A. Heinlein [1959]

The story follows Juan Rico (or "Johnnie") through his career within the Terran Mobile Infantry from a fresh faced recruit to the veteran and officer he later becomes. His career is set against mankind's struggle with the dangerous 'Pseudo-Arachnids', a race of insectile aliens. Alien here is for once the right word, since the Pseudo-Arachnids (or "bugs") have a completely non-human existence. This does make them hard to empathise with, but the narrative tells the story only from Rico's perspective so it isn't long before the bug becomes 'the enemy' to the reader. The story is told strictly in a 'flashback' method, frequently revealing exposition of the world, society and Rico's own life, through events in his life. 

Rico lives in what would be considered a dystopian future. His world is a society where the ruling party are formed solely of "Sky Marshals" (the highest rank of the armed forces which combines the disciplines of both the Infantry and Navy). The novel mentions that to be a citizen of this future every man or woman must complete a term of service in the armed forces.

It lends itself to an almost Roman society. The Roman Empire was famous for granting land and citizenship to those who were not born Roman citizens but had undergone terms of service within the Roman army. 
However, non-citizens of the Federation do benefit from a number of rights (such as freedom of speech and political assembly), but only citizens ('veterans') were entitled to vote and hold public office.


Click below for the full synopsis (click to open/close):





Food for thought:
Starship Troopers is a book that skirts around fascism through most of the story. Certain topics in schools can only be taught by citizens for example (this meaning 'military veterans').
Heinlein is considered to channel much of his own personality and opinions through Dubois (Rico's teacher) and expounds heavily on the concept of violence as a necessary part of mankind's existence, though this is nothing too surprising as this was written in the 1960s, when war with the Soviet Union was a very real threat. The idea of channeling aggressive impulses into sacrifice for 'good' ideals is not entirely shocking in this respect. "The tree of liberty must be refreshed from time to time with the blood of patriots and tyrants." - Thomas Jefferson

However, the film (called the same name) attempted to satirise the underlying fascism in the book's setting through an overly obvious link to the Nazi Party. Officers in the film wore black leather trenchcoats (of the sort commonly associated with the Nazi SS), Rico and the recruits swearing the oath of allegiance wore SA uniforms (Sturmabteilung), a vaguely eagle shaped motif was selected as the Federation's logo (to represent the twin-headed eagle) and the film was cast as if it were a propaganda film with the frequent allusions to the Federation's control of broadcasting.

This does raise my final food for thought. In the film, we see the Arachnids as monsters. Giant insects who rather messily disassemble people in various ways. But perhaps that is the point of the film (and in some respects the book too). By portraying an enemy repulsive and impossible to empathise with, we the reader (and audience of the film) are drawn into supporting the 'good guys' who are the product of a fascist state.
An argument could be made that it is easy for people to support fascist principles and see it as 'good' provided we are convinced the other, the alien, is not something to be understood but an enemy to be destroyed.

And yet... we know they can be understood. The Pseudo-Arachnid was an ally of the Skinnies after all.