A tale of fire and water

Recently finished, and hugely enjoyed, Pompeii by Robert Harris.

In a book set in Roman times, about Pompeii, you think you have a shrewd idea what’s going to happen. So it came as a pleasant surprise to find most of the novel is in fact about water. Marcus Attilius is engineer in charge of the aqueduct that feeds water to most of the Bay of Naples region. The water supply unaccountably fails one hot day in August 79AD and he has to find out why.

The reader already has a pretty shrewd idea why, and it’s no great surprise that, yes, the aqueduct has been blocked by earthquake activity near the base of Vesuvius. It’s easily dealt with. But in the process of his enquiries Attilius stumbles across intrigue, fraud and skullduggery that would make quite a decent novel on its own.

Yes, the reader is thinking, all very good but sooner or later that volcano’s gonna blow and press the reset button. Which it does, but in a way that still manages to continue the story so far quite logically. Each chapter starts with a paragraph or two from a modern text on volcanology, so we the readers understand what’s happening even if the Romans don’t, and it’s all quite seamless. One of Attilius’s niggles is what happened to his predecessor, who looms over the novel without ever actually appearing alive. Turns out the guy was a native of Siciliy, from near Etna, and was about the only person in the whole of Campania with an idea of what was about to happen.

And when the volcano does blow, it’s terrifying. You see how the Romans must have felt. First, they had no idea Vesuvius was a volcano at all (the Greek historian Strabo, who had obviously been up there, described the top as a flat plain – no crater like today. You could stand up there with no idea the mountain was hollow). When it blew, around midday, the clouds of ash blotted out the sun and brought a premature night to the land. When the final pyroclastic flows came, burying Herculaneum and Pompeii completely, that really was at night so it would have been twice as dark as before, with visibility through the ash just a few feet. All they would have seen were the faint glows of light tumbling down the sides of the mountain. The first couple of these, from the point of view of the Pompeiians, go from right to left, east to west, and take out Herculaneum. The next just seem to get bigger and bigger, coming right at the town …

You’re on the edge of your seat, I tell you. And what makes this vision of volcanic hell doubly powerful is that Harris has been so good at describing the contrasts. The pre-eruption paradise of hot sun, vineyards, crystal clear water from the aqueduct, and the well-ordered civilisation of the empire that collapses into local chaos.

Another point that struck me – and amused me – was that Attilius reports direct to a guy in Rome who reports direct to the Emperor. A couple of times he is able to play on this fact and bypass all local politics, vested interests etc. The aqueduct itself, the mighty Aqua Augusta, was built by direct order of Augustus. That well known bunch of commies the ancient Romans had absolutely no problem with the idea that a vital resource like water operates under centralised state control. Privatise it? Don’t be ridiculous! They would have laughed.

Okay, we don’t have slaves or gladiators and we know a thing or two about volcanoes now. But it’s just possible we may have lost something too …

Child’s play

Time’s Chariot gets its first decent review – by my standards of decent, anyway, i.e. by a science fiction publication with reviewers who are likely to Get It – in the latest Vector. It emerges favourably at the end, even if the reviewer does play the game reviewers like to play (and I doubtless do it myself) of “pick up on something that hasn’t even occurred to the author and make a deal of it”.

Sometimes this is good; it reveals strengths and weaknesses and stylistic quirks that the author can take into account the next time round. Sometimes it’s just baffling …

“The fact that it is so clearly ‘written down’ for children might prevent their full enjoyment.”

Ahem. ‘Written down’? That’s my actual style, thank you very much.

You don’t believe me, ask a genuine child, like 14 year old Tommy who reviewed it in the Cork Evening Echo, second only to Vector and perhaps Locus as a nexus of the sfnal hive mind. Generously he gives it a 7/10, apparently deducting 3 points because “this book would really only be suitable for anyone over the age of 12 because the author uses difficult words to describe things and there is some bad language”.

Sadly he doesn’t cite the bad language (I’d love to know where he found it) but he does at least explain that bit about the difficult words: “I didn’t like the way the author used futuristic, made-up words which he didn’t explain, for example agrav.”

A future in SF critique does not (yet) lie ahead of young Tommy, but give him time.

Pratchett, games and lists

To the Unicorn Theatre last night for the latest of the Studio Theatre Club’s Pratchett plays. The group has gone back to its roots with a revised version of the very first such play that it did, in 1991, a few months before I came to Abingdon and a year before Bonusbarn was born. Wyrd Sisters: The Director’s Cut.

The usual high standards; nigh on perfect casting all round. It was a shame they left Death out but you can’t have everything. Plays also can’t include lines of narrative text: I remember from the novel the lovely line “they turned to see a dwarf trying to loom over them”. Also difficult on stage would have been the bit where someone tries to sit in a chair occupied by the ghost of the dead king. “Is someone sitting here?” / “Yes …”

On the way back home Bonusbarn gave an interesting insight into the politics of gamery, or the workings of his own mind, or both, speaking contemptuously of the people sitting in the row in front, who I would guess to have been students. “I’m never going to be that nerdy. They were talking about Magic: The Gathering. That’s a card game.”

… which led on to a discussion of which is better, a technologically accomplished piece of work graphical like World of Warcraft, where everything is laid out for you on screen, or a proper role playing game (you may see where my prejudices lie) where you may have a few props and enabling items but the main action takes place in the imagination.

… which led on to a reminder (following from his suspicious identification of my ability to recognise authentic player-talk) that I was in the university SFSoc in my day, even though I hardly ever went to a meeting because they clashed with scuba diving on Thursday evenings and so I just turned up to the end of term video weekends.

[Sigh] “Were you the president?”

“No.”

“Did the president have long hair and a trench coat?”

Um. Thinks. I do remember a long(ish) haired president. I also remember a trench coat. I forget if they were the same person. But …

Hm.

Which leads on to something almost completely different but saves me doing two blog posts where one will do. Apparently the Guardian is having one of those prescriptive moments that the national press do so love and is listing the 1000 books everyone must read. They’ve now got down to science fiction and fantasy titles. There’s 149 of them (for the sake of convenience Discworld, Narnia, His Dark Materials etc. count as one title each) and the full list is kindly summarised here so I pinched it.

Some I’ve never heard of; some (I’m looking at you, Rowling) I’m thinking “what??” With the possible exception of Jonathan Strange & Mr Norrell I’m thinking that any book published in the last five years is too recent to say everyone should read it; I’d say published this century except that China Mieville’s there (though not with the title I’d have chosen). But anyway, here’s the list again, with the ones I’ve read (60/149 = 40%) in bold.

Douglas Adams: The Hitchhiker’s Guide to the Galaxy (1979)
Brian W Aldiss: Non-Stop (1958)
Isaac Asimov: Foundation (1951)
Margaret Atwood: The Handmaid’s Tale (1985)
Margaret Atwood: The Blind Assassin (2000)
Paul Auster: In the Country of Last Things (1987)
JG Ballard: The Drowned World (1962)
JG Ballard: Crash (1973)
JG Ballard: Millennium People (2003)
Iain Banks: The Wasp Factory (1984)
Iain M Banks: Consider Phlebas (1987)
Clive Barker: Weaveworld (1987)
Nicola Barker: Darkmans (2007)
Stephen Baxter: The Time Ships (1995)
Greg Bear: Darwin’s Radio (1999)
William Beckford: Vathek (1786)
Alfred Bester: The Stars My Destination (1956)
Ray Bradbury: Fahrenheit 451 (1953)
Poppy Z Brite: Lost Souls (1992)
Charles Brockden Brown: Wieland (1798)
Algis Budrys: Rogue Moon (1960)
Mikhail Bulgakov: The Master and Margarita (1966)
Edward Bulwer-Lytton: The Coming Race (1871)
Anthony Burgess: A Clockwork Orange (1960) [seen the film; does that count?]
Anthony Burgess: The End of the World News (1982)
Edgar Rice Burroughs: A Princess of Mars (1912)
William Burroughs: Naked Lunch (1959)
Octavia Butler: Kindred (1979)
Samuel Butler: Erewhon (1872)
Italo Calvino: The Baron in the Trees (1957)
Ramsey Campbell: The Influence (1988)
Lewis Carroll: Alice’s Adventures in Wonderland (1865)
Lewis Carroll: Through the Looking-Glass, and What Alice Found There (1871)
Angela Carter: The Passion of New Eve (1977)
Angela Carter: Nights at the Circus (1984)
Michael Chabon: The Amazing Adventures of Kavalier and Clay (2000)
Arthur C Clarke: Childhood’s End (1953)
GK Chesterton: The Man Who Was Thursday (1908)
Susanna Clarke: Jonathan Strange and Mr Norrell (2004)
Michael G Coney: Hello Summer, Goodbye (1975)
Douglas Coupland: Girlfriend in a Coma (1998)
Mark Danielewski: House of Leaves (2000)
Marie Darrieussecq: Pig Tales (1996)
Samuel R Delaney: The Einstein Intersection (1967)
Philip K Dick: Do Androids Dream of Electric Sheep? (1968)
Philip K Dick: The Man in the High Castle (1962)
Thomas M Disch: Camp Concentration (1968)
Umberto Eco: Foucault’s Pendulum (1988)
Michel Faber: Under the Skin (2000)
John Fowles: The Magus (1966)
Neil Gaiman: American Gods (2001)
Alan Garner: Red Shift (1973) [didn’t understand it, but read it]
William Gibson: Neuromancer (1984)
Charlotte Perkins Gilman: Herland (1915)
William Golding: Lord of the Flies (1954)
Joe Haldeman: The Forever War (1974)
M John Harrison: Light (2002)
Nathaniel Hawthorne: The House of the Seven Gables (1851)
Robert A Heinlein: Stranger in a Strange Land (1961)
Frank Herbert: Dune (1965)
Hermann Hesse: The Glass Bead Game (1943)
Russell Hoban: Riddley Walker (1980)
James Hogg: The Private Memoirs and Confessions of a Justified Sinner (1824)
Michel Houellebecq: Atomised (1998)
Aldous Huxley: Brave New World (1932)
Kazuo Ishiguro: The Unconsoled (1995)
Shirley Jackson: The Haunting of Hill House (1959)
Henry James: The Turn of the Screw (1898)
PD James: The Children of Men (1992)
Richard Jefferies: After London; Or, Wild England (1885)
Gwyneth Jones: Bold as Love (2001)
Franz Kafka: The Trial (1925)
Daniel Keyes: Flowers for Algernon (1966)
Stephen King: The Shining (1977)
Marghanita Laski: The Victorian Chaise-longue (1953)
Joseph Sheridan Le Fanu: Uncle Silas (1864)
Ursula K Le Guin: The Left Hand of Darkness (1969)
Ursula K Le Guin: The Earthsea series (1968-1990)
Stanislaw Lem: Solaris (1961)
Doris Lessing: Memoirs of a Survivor (1974)
CS Lewis: The Chronicles of Narnia (1950-56)
MG Lewis: The Monk (1796)
David Lindsay: A Voyage to Arcturus (1920)
Ken MacLeod: The Night Sessions (2008)
Hilary Mantel: Beyond Black (2005)
Michael Marshall Smith: Only Forward (1994)
Richard Matheson: I Am Legend (1954)
Charles Maturin: Melmoth the Wanderer (1820)
Patrick McCabe: The Butcher Boy (1992)
Cormac McCarthy: The Road (2006)
Jed Mercurio: Ascent (2007)
China Miéville: The Scar (2002) [why this and not Perdido St Station?]
Andrew Miller: Ingenious Pain (1997)
Walter M Miller Jr: A Canticle for Leibowitz (1960)
David Mitchell: Cloud Atlas (2004)
Michael Moorcock: Mother London (1988)
William Morris: News From Nowhere (1890)
Toni Morrison: Beloved (1987)
Haruki Murakami: The Wind-up Bird Chronicle (1995)
Vladimir Nabokov: Ada or Ardor (1969)
Audrey Niffenegger: The Time Traveler’s Wife (2003)
Larry Niven: Ringworld (1970)
Jeff Noon: Vurt (1993)
Flann O’Brien: The Third Policeman (1967)
Ben Okri: The Famished Road (1991)
George Orwell: Nineteen Eighty-four (1949)
Chuck Palahniuk: Fight Club (1996)
Thomas Love Peacock: Nightmare Abbey (1818)
Mervyn Peake: Titus Groan (1946)
Frederik Pohl & CM Kornbluth: The Space Merchants (1953)
John Cowper Powys: A Glastonbury Romance (1932)
Terry Pratchett: The Discworld series (1983- )
Christopher Priest: The Prestige (1995)
Philip Pullman: His Dark Materials (1995-2000)
François Rabelais: Gargantua and Pantagruel (1532-34)
Ann Radcliffe: The Mysteries of Udolpho (1794)
Alastair Reynolds: Revelation Space (2000)
Kim Stanley Robinson: The Years of Rice and Salt (2002)
JK Rowling: Harry Potter and the Philosopher’s Stone (1997)
Salman Rushdie: The Satanic Verses (1988)
Joanna Russ: The Female Man (1975)
Geoff Ryman: Air (2005)
Antoine de Sainte-Exupéry: The Little Prince (1943)
José Saramago: Blindness (1995)
Will Self: How the Dead Live (2000)
Mary Shelley: Frankenstein (1818)
Dan Simmons: Hyperion (1989)
Olaf Stapledon: Star Maker (1937)
Neal Stephenson: Snow Crash (1992)
Robert Louis Stevenson: The Strange Case of Doctor Jekyll and Mr Hyde (1886)
Bram Stoker: Dracula (1897)
Rupert Thomson: The Insult (1996)
JRR Tolkien: The Hobbit (1937)
JRR Tolkien: The Lord of the Rings (1954-55)
Mark Twain: A Connecticut Yankee at King Arthur’s Court (1889)
Kurt Vonnegut: Sirens of Titan (1959)
Horace Walpole: The Castle of Otranto (1764)
Robert Walser: Institute Benjamenta (1909)
Sylvia Townsend Warner: Lolly Willowes (1926)
Sarah Waters: Affinity (1999)
HG Wells: The Time Machine (1895)
HG Wells: The War of the Worlds (1898)
TH White: The Sword in the Stone (1938)
Angus Wilson: The Old Men at the Zoo (1961)
Gene Wolfe: The Book of the New Sun (1980-83)
Virginia Woolf: Orlando (1928)
John Wyndham: Day of the Triffids (1951)
John Wyndham: The Midwich Cuckoos (1957) [what happened to The Chrysalids?]
Yevgeny Zamyatin: We (1924)