Tag Archives: literature

371. The Introverted Author (1)

These are the online notes for the Westercon panel
Fake it ’til you make it: a survivor’s guide for the introverted author

Here is a true tale for you, set once upon a time when the world was young. You can take some comfort in it when you are feeling shy.

I had just sold my second novel to David Hartwell, and had him lined up to buy my third. He invited me to a get-together with other young authors at Charles Brown’s house in the Oakland Hills. Charles Brown was then the editor of Locus.

I date this by the fact that A Fond Farewell to Dying was the only book Hartwell bought from me. The other deal fell through. No fault, no foul, no complaints; he gave it a fair hearing but it wasn’t ready. That’s a different story for a different time.

I also date that night by the fact that Heinlein had just delivered his first new manuscript in years. Everybody was speculating about it at the party. Hartwell’s assistant, who had read it, wouldn’t comment. It was Number of the Beast.

The year must have been 1979.

That night, I think, or perhaps at one of the Westercons I attended shortly after, I met Marta Randal and Chelsea Quinn Yarbro. I went home immediately afterward and read Islands and Hotel Transylvania. I suspect that I will spend the weeks after this Westercon similarly playing catch-up.

I might have met several other authors who were unknown then and are famous now — memory does not record all the faces I saw that night.

I remember Charles Brown’s house, old, wooden, perched on the edge of a winding hill road. He had good bookcases and old bookcases and rickety bookcases and stacks of books and spills of books; more books than I had seen outside of a library. The main room was full too —  of writers, most of them new to the business.

Now, here’s the survival guide for the introverted author part.

The room had four corners. Every corner had a young author in it. All the rest of us were milling around trying to find a corner, but there weren’t any more. Every one of us was trying to look like we thought we belonged.

No one was succeeding.

Mind you, we did belong. We had been invited. We were all authors who had made it to at least the bottom rung of the ladder, but nobody seemed to feel it yet.

There were a few more experienced writers, known names who had won awards. They were working the room like a stand-up at Vegas. I don’t think they were showing off. I think they were trying to put us at ease.

I appreciated the effort, but it didn’t work. Introverted is introverted, and a lot of writers seem to suffer from the malady.

A year or two later, I gave a talk at Westercon on “How to Build a Culture.” It went smoothly and I enjoyed it immensely. The difference was confidence, and it wasn’t the year or two that gave it to me. It was the setting. I was on stage, with a microphone, behind a table and they were out there. They means you.

I could speak in front of a thousand of people with no hesitation, but I get tongue-tied in an elevator. I have a lot of non-writer friends, and most of them are of the opposite persuasion. They excel at small talk, at chatting, at putting a new acquaintance at ease. I envy them that skill, but if you put them in front of a large audience, they would freeze up.

Of course, one could try the old chestnut about imagining the audience naked. I’ve never thought that was a good idea. If the audience is full of beautiful people of the gender that interests you, you might get distracted. If they are significantly the opposite, they might scare you.

It seems better to me to imagine that the audience likes you, and wants to hear what you have to say. Whether it’s true or not, that mind-set might make for a self-fulfilling prophesy.

I’m sure that there are people who can talk to one person, then turn around and talk to a thousand, and never miss a beat. We can ignore them. They won’t be found in a room where the panel discussion is “Fake it till you make it”.

This discussion continues next Monday and Tuesday.

Click here for next post.

Spirit Deer 8

Then he dragged himself back. Halfway there, a terrible weakness came over him. Whether it was from pain, poor sleep, or hunger, he could not say, but it frightened him.

In the back of his mind, Tim had been thinking about his mother, and how she would worry about his absence. Now he set those thoughts aside and began to seriously worry about himself.

The clouds rolled above him, gray and heavy with the promise of rain.

Pulling himself to a sitting position, he began to trim branches for a splint. He studied the situation, and decided to replace his boot, then splint over it. That might not be the best or most comfortable way, but at least it would let him walk.

Whatever else happened, he had to get off this bald knob and into shelter.

He cut the splints, but the cord he could have used to bind them had gone with his other survival supplies. He considered his clothing. He wore ten inch boots and socks, jeans, a wool shirt, and underwear. He had a belt, but he needed it to support his knife and firestone case. He had a handkerchief, but that would be too flimsy.

Nothing could be spared, yet something had to be spared. Finally, he decided to sacrifice his shirt sleeves from the elbow down. He cut strips from them until he had enough to bind the splints into place.

He fed the fire and took stock. It was nearing noon, yet a chill hung in the air.

Food? Impossible for now.

Fire? Secured, but not portable. He needed to cut and dry some kindling before he let this fire die out, or he might not be able to start another one later.

Shelter? He had to have shelter by nightfall, or before it rained. And there was no way to make a shelter until he got to lower ground. The edge of the forest was a quarter of a mile away, and that would be a long way to limp on one foot.

He stood to get a better look at the treeline, and to pick the easiest path. He balanced on his left foot, and slowly let some weight down on his right. The pain in his ankle was intense. He lost his balance and sprawled headlong.

* * *

When consciousness returned, the sun was nearly down, and his face was caked with blood from where his head had hit the granite bedrock of the bald.

He was freezing. Again!

He dragged himself to the fire. It was down to a few embers. He chose the driest wood at hand and cut new fuzz sticks – six inch twigs from which twenty or thirty chips are lifted, but allowed to remain attached. He placed these in the embers and blew the fire to life again.

A drop of rain struck his neck.

He gritted his teeth against the pain and crawled to the juniper stem. He would have to have a crutch, so he started working away at its base. It was six feet high and four inches through at the base. Working with only a knife was heartbreakingly slow, but Tim stuck to the task. As he worried away at the base of the tree, the rain began to fall more heavily.

Half an hour later, the juniper fell. Tim crawled back to the fire, dragging it behind him. He was soaked and shivering as he fed the fire and tried to warm himself. His supply of firewood was getting low, and he couldn’t crawl around on the rocks to get more. more next week

370. Fantasy World Building (3)

When you are ready to build your own fantasy world, you might consider these four things: tone, magic, language, and the concept of the archaic (found in posts Monday, Tuesday, and today).

The question, as we ended yesterday, was language, and who bothers to create them.

I did, in a manner of speaking. The Menhir stories grew from a single image, and I had no idea for years where they were going. Things got invented, and the world of the Menhir grew by accretion. I invented a style of fighting, which required invention of a sword/lance, which required invention of a name, and lancette entered my story’s vocabulary. A thousand place names and personal names got invented. Gradually, the world grew a religious background which became the underpinning for what passes for magic on that world. This morphed into an entire system for the handling of life and death, and words like ai, enreithment, and abahara entered the vocabulary of the story. I invented a kind of peasant dwelling and now we had hartwa. My people started out with oxen and horses but that wasn’t satisfactory, so they were soon riding kakais and using tichan to pull their wagons.

Words begat words, morphographically. Since ai means power and dzi– means man of, then a dziai is a man of power, and the men of the plains whose entire lives revolve around their mounts are, of course, the dzikakai.

As if that weren’t enough, my people started quoting words and phrases from the language of a nearby kingdom — just like the English quote the French, n’est-ce pas. I eventually made myself a glossary, but don’t take that as a requirement. I’ve been living on the world of the Menhir, part time at least, for four decades, but even I get confused sometimes.

Archaism

I’ve told this story before, but I can’t help repeating it. The scene, as I recall, was Westercon 33, Los Angeles, in 1980. A panel of writers and editors was discussing fantasy, and things had gotten out of hand. After a grueling discussion of what some magical breed of horses in Lord of the Rings ate, they had moved on to the subject of archaic language.

Somebody said it was okay, but don’t overdo it. Somebody said archaisms should be used sparingly, like spice in food. That went back and forth for several minutes until some wag in the audience stood up and asked, “Are you saying we can have archaic, and eat it too?”

I wish I had thought of that.

Marion Zimmer Bradley is well known for her fantasies, but she cut her teeth on science fiction. Her Darkover series was a massive best seller in its day. Darkover is a planet in our universe, populated by humans from a stranded starship, whose powers of the mind come (quite scientifically) from the pollen of psychotropic plants and from interbreeding with non-human natives. Lost and out of contact with their technological roots, they evolve a feudal society. They create an archaic world from a purely science fiction starting point.

Of course this is a reductionist view of a complex and massive series of novels and short stories. But it makes the point that archaism is easy to achieve. For archaism in fantasy, you could almost write a formula:

HORSES + SWORDS + MAGIC = FANTASY

Of course it takes more than that to achieve good fantasy.

The time-before-known-time is an ancient idea. Atlantis and Mu fit into it. Tolkien’s Middle Earth came before recorded history. So did the world of Conan. The worlds of Michael Moorcock seem to be of this nature, but a closer reading will have to follow them sideways in time.

Alternate histories allow access to archaic worlds coexisting with our modern world. We can go to other 2017s, where the Native Americans are the only Americans, or Rome still rules, or Muhammed became an atheist. Take your pick, and if you can’t find what you like, you can write your own.

Remnant stories also let the past live on. Professor Challenger found dinosaurs still living deep in the Amazon. Hilton’s characters found Shangri-La. Even Rick Brant, in the favorite juvenile series from my childhood, found a lost remnant of an earlier age hidden in the Himalayas in The Lost City.

It would be logical to assume that you could go sideways in time, or backward, or to some lost valley and find dystopian, crowded cities, but that almost never happens. Archaism is about escaping modernity, crowding, complication, and life in cities. Back to simpler times. Back to the good old days. Back to the land of childhood. Back to the middle ages where knights in shiny armor rode pretty horses and rescued damsels with big bosoms and pearly white teeth from dastardly villains — or maybe from dragons.

Does anybody believe this? Of course not. Does anybody want to believe? Of course. And in the friction generated when those two truths rub together, the fire of archaism is born.

So our hero goes back (or sideways) and he/she finds the land of her/his heart’s desire and it isn’t what she/he expected at all. But it isn’t bad. There are problems to overcome, heartaches to endure, and villainy to face, but so what? That’s true in Portland, and Tempe, and New York City as well. In the new/old world  there are beauties and wonders, in addition to troubles. And it’s probably green, with trees and meadows, even if it also has rain and snow instead of eternal sunshine.

Above all, there aren’t any traffic jams. And the cell phone never rings.

Wait a minute. I’ll get my backpack, and we can go.

Spirit Deer 7

At some point he must have gotten free of the current and come ashore. Obviously – since he remembered none of it – he had only been half conscious. What could have happened then?

As the light increased, Tim realized that this was nowhere he had ever been before. There was no familiar landmark anywhere. He was in high, broken country surrounded by manzanita and scattered junipers. The low hanging clouds kept him from seeing any landmarks he might have recognized, and those clouds seemed to be getting thicker. Without his compass or a view of the sun, he didn’t even know east from west.

He let his campfire burn down. It was time to leave, but he had no idea which direction to go.

How long had he wandered in his dazed condition? More important, how far had he wandered, and in which direction? He might be within a mile of some familiar place, but if he set off in the wrong direction he would only make matters worse.

Tim looked up at the low hanging clouds and began to worry. If it should snow or rain he would be in serious trouble. His poncho – two ounces of flimsy plastic – would have been enough to protect him, but it was gone.

STOP. Stop, think, observe, plan. Tim had learned that phrase in outdoor school as a sixth grader, he had never really thought he would be in a position to use it.

He had certainly stopped and thought. He had observed that this bald knob was no place to find food, water, or shelter. His immediate plan was clear. He would move off downhill. Since he was on the California side of the Sierra Nevadas, any downhill movement would take him westward, which was the direction he wanted to go. If he did not find a familiar landmark, he would at least find a better place to build a survival shelter.

He rose to leave

His right ankle turned beneath him

He cried out as he fell. He took the force of the fall on his shoulder to spare his ankle, but the pain did not go away.

Chapter 3

The pain did not go away. It burned on like a hot knife deep into the joint and Tim knew he had not caused all this by a simple misstep. It had to be something he had done in his fall or his semi-conscious wanderings.

He carefully removed his boot and sock. The flesh was pink and swollen, but not sensitive to his touch. The injury, whatever it was, lay deep. Setting his foot down, he bumped it and the pain almost made him faint.

If he had not been in trouble before, he was certainly in trouble now!

His ankle did not seem to be broken, but how could he be sure? Strained, sprained, twisted, or broken – it made little difference, really.

He needed wood for a splint, and for his fire. Now that he could no longer just walk away, that fire had become a matter of life or death once again. Sliding on his back, with his left leg drawn up to hold his right ankle above the ground, he made his way to a nearby dead juniper. Taking his knife, he cut off the stiff lower limbs until he could reach no more, then balanced on his good foot and continued. Every time he made an unguarded move, the pain in his ankle shot through him.

He stripped the tree of branches, then threw them one by one back toward the fire. Then he dragged himself back. Halfway there, a terrible weakness came over him. more tomorrow

369. Fantasy World Building (2)

When you are ready to build your own fantasy world, you might consider these four things: tone, magic, language, and the concept of the archaic (found in posts today, yesterday, and tomorrow).

Continuing the concept of magic . . .

Christianity, in earlier centuries, saw witches as wielders of power which they obtained by pacts with Satan. Harmful as they were, witches had no power of their own. In many dark fantasies, the searcher after power obtains his heart’s desire from some greater being who is, in essence, a Satanic stand-in. Such Faustian bargains never end well.

Well, almost never. Martin does turn the tables on Satan in Robert Bloch’s That Hell-Bound Train.

Magic, in fantasy writing, often goes unexplained. The talisman in The Monkey’s Paw is understood by the reader without elaboration, just as a reader of westerns doesn’t need an explanation of how a six-gun works.

It is quite usual for a fantasy hero to have inborn power. Harry Potter was a wizard born of wizards. Ged is an unknown until his power is discovered by a mage. Corwin is a son of Amber.

It is equally usual to concentrate on the education of a wizard, or mage, or dziai. Ged went to Roke, Harry Potter went to Hogwarts, and my Tidac took two books to learn how to use his power because he had no mentor. His father never learned, and it destroyed him.

Can we have fantasy without magic? Probably not. Pavane is an alternate universe science fiction or an alternate history novel, but its tone makes it read like fantasy, except for the absence of magic. What seems to be magic in one chapter, may just be a dying dream; it isn’t made clear to the reader. For me, this places Pavane on the borderline between genres.

On the other hand, Randall Garrett’s Lord Darcy stories are all about magic, but their system of magic is so comprehensively worked out that they read like science fiction.

I know that my Menhir story, in its infancy, before I really knew what it was going to be about, read like a quasi-medieval world. Slowly I came to grips with how the powers of every soul are affixed to menhirs at death, making menhirs into gestalt beings which become repositories of power that can be tapped, at peril, by men of power. Only then did magic come into the world of the menhir. And only then did it begin to read as fantasy.

Language

“Up sword,” sayeth Sir Gallant, “lest I cleave thee where thou standest.”

Yeah, that’s pretty bad, and it has been a long time since I’ve seen that kind of fake-ancient language used in fantasy, except as a joke.

Language in fantasy is both a necessary tool, and a dangerous one. You can’t just throw in some thees and thous and -ests, but you also can’t speak in modern, colloquial English. Simple formality is the easiest way out. Even Zelazny, for all his smart-ass-with-a-sword characters, wrote with intelligence and a great deal of formality. If you want your characters to speak slang, you have to invent slang appropriate to their world, and that takes some effort.

Remember, whatever language your characters speak, even if you are setting your fantasy in early England, no one on Earth speaks that language today. In my fantasy world of the Menhir there are three languages in play, and a mid-sea island has a bastard language drawn from all three. It doesn’t matter. The book gets translated into English, whatever language the characters are speaking.

Whatever your genre, you are likely to have characters from different levels of society. Whether you are writing about nomads from the desert encountering the Pasha of Nevermore, or a Bostonian talking to a southern slave in 1845, you need to find a way to make your characters sound different from modern America, and from each other, but still be comprehensible. And it needs to sound natural. ‘Taint easy.

Languages – note the difference – are also dangerous, but at least you don’t have to invent one if you don’t want to. Tolkien did, to a degree far in excess of the needs of his stories. Almost no one else ever does. language continues tomorrow

Click here for next post.

Spirit Deer 6

He arranged this tender on a flat rock and worried the bullet out of a cartridge with his teeth. He spread the powder over his kindling, buried the mouth of the casing in the pile, and held it down with a rock.  Taking his knife, he tapped the primer.

Nothing!

He tapped it harder, and still nothing happened. Shivering and desperate, Tim dropped his knife and struck the casing with a rock. There was a sharp crack and the kindling scattered, but nothing took fire.

A spasm of shivering moved through him and he whimpered in the cold. Flint and steel. It was the only thing left to him, but he had no flint. He grabbed a broken off piece of granite and beat it viciously with his knife. It made no sparks. He tossed it aside and tried another. His breath was coming in sobs now. No sparks. 

He fell to his knees and rummaged among the pebbles and broken rocks, searching for something that was not granite. For a moment, the moon broke through, and he grabbed a rock that was shinier than the rest. He struck it with his knife.

A spark appeared. Tim struck it again and again until a shower of sparks fell on the damp tender. The gunpowder ignited, fizzling and snapping. Tim dropped the rock and knife and fell on his belly.

Blowing gently, he nursed the flame. A shred of bark shriveled and flared, then another. He held a fuzz stick above the tiny flame until it was fully burning, being careful not to smother it. Now he had a handful of flame and be began to feed it larger pieces of wood.

When finger thick pieces of wood were burning, Tim began to relax. He stretched his hands over the flame. Returning circulation almost made him cry out.

Tim gathered more wood and started another fire six feet from the first, then built a woodpile between them. He settled down there, warming himself and feeding them both. It was over an hour before the shivering stopped.

* * *

In the predawn light, Tim examined the rock he had used to start the fire. It glinted with metallic, golden flakes.  Pyrites – fool’s gold. The miners who had dug California’s hills for real gold had despised it, but to Tim it was a treasure.

The canvas case that had carried his emergency gear was basically undamaged. Only the snap had torn out. Tim bored holes in it and tied it shut with strings cut from his shirt cuff to make a secure case for his firestone.

He did not know how long it had been since he started his fire. He had watched the moon cross about a third of the sky before sunrise, peeking from time to time through the overcast. It was a glorious sunrise, but Tim hardly noticed.

Tim could not remember what had happened to him. He could only reason it out. He must have fallen into the stream, and it must have carried him downstream. Had he hit his head against one of those fang shaped rocks?

He explored his head with his fingers. There was a gash above and behind his left ear which had formed its own poultice of matted blood, dirt, and hair. Tim decided to leave it alone, since he could not see to tend it. It explained why he did not remember how he got where he was. It also explained his throbbing headache. more tomorrow

368. Fantasy World Building (1)

    Here we have an oddity. I am adding this paragraph after the original post date, but before Westercon. The title of this panel was changed from Fantasy World Building to Of Wizards, Dragons and Klingons: Fantasy and Sci-Fi World Buiiding. That is a bit ambitious; it pretty much includes everything writers do. I will leave these posts as they were, covering only fantasy worlds, but if you look at the rest of the panels on my Westercon page, you will find enough to justify the omnibus title.

I love fantasy, as long as you understand that I don’t include horror. Although all my publications so far have been science fiction, I have actually spent more time writing fantasy. You’ll see it, eventually.
     The first thing I wrote seriously, three years before I sat down to become a writer, was the first chapter of what became a three book fantasy series, Valley of the Menhir, Scourge of Heaven, and Who Once Were Kin.
     Since I began this blog, snippets of fantasy fiction and posts about the writing of fantasy have appeared here and there. Long term followers may recognize the following from posts 240 -243.

When you are ready to build your own fantasy world, you might consider these four things: tone and magic (today’s post), as well as language and the concept of the archaic (tomorrow).

Tone

The tone of the prolog to my novel Valley of the Menhir is intense and serious, but it can afford to be. It only lasts eight ms pages; if it were prolonged, such seriousness would quickly become pretentious. Books, like the characters in them, need to breathe. This is true whatever the genre.

J. R. R Tolkien set the tone for fantasy, and not necessarily in a positive way. The feel of Lord of the Rings is a combination of pretension and childishness, a tone that came from the uneasy mixing of hobbits with humans and elves. I liked LOTR well enough to read it twice, decades apart, but I don’t think I could make it through again. To be fair, the hobbits were the best thing in the books. When I tried to read the Silmarillion, the hobbits weren’t there to lighten the mood, so I finally bogged down and quit.

Tone at its best is found in A Wizard of Earthsea, which is, for my taste, and without equivocation, the best fantasy novel of them all. The overriding factor in the tone of Earthsea is humility. Ged is the son of peasants (or Earthsea’s equivalent) and he never loses touch with his humble beginnings. True, his arrogance leads to tragedy, but the bulk of the book is the story of Ged regaining the humility which is his natural state.

The language of the book is simple, matching the tone of the story. The image of a man in a tiny boat, pursuing his nemesis alone across Earthsea, has an almost Ghandiesque simplicity about it — if we remember that Ghandi had the simplicity and arrogance to bring down the British empire.

Tone can take many shades in fantasy, and still work. Fritz Leiber’s Fahfrd and the Grey Mouser stories on one hand and Keith Robert’s Pavane on the other are worlds apart in every way, but each strikes the tone necessary for its story. And yes, I know Pavane is an alternate worlds novel, but it reads like fantasy.

Roger Zelazny’s tone has one foot in science fiction and the other in fantasy. It doesn’t matter what he writes, his tone remains the same, and it works everywhere. Lord of Light is certainly science fiction and Creatures of Light and Darkness is certainly fantasy. Amber, in all its volumes, transcends categorization, but all these works belong in the genre called everything-Zelazny-wrote. I’ve read all his work repeatedly, and will continue to do so, because I get lost in the sound of his voice. And that is what tone is, after all.

Magic

Any sufficiently advanced technology is indistinguishable from magic.
                Clarke’s third law.

The universe is full of forces; some of those forces are personalities.
                reference lost

I believe that the second quotation above is from a piece by James Blish, which I read many years ago and no longer have available to me. If anyone recognizes the source, let me know. In that same piece, as I recall, he spoke of Black Easter as an experiment in which he treated the Book of Revelation as simple fact. Roger Zelazny made a career out of treating non-Western religions as if they were simple fact.

Like stardrives, magic can be highly structured or haphazardly thrown in when the story needs it. Both styles work, depending on the skill of the author. The most organized magic I recall is Randall Garrett’s Lord Darcy stories. For disorganization, see any new author.

A primary, underlying question in any presentation of a fantasy world is, “Where does the magic come from?” Is it a dispersed, readily available natural resource like The Force in Star Wars? Does it reside within its wielder, as a natural consequence of his being? Or is it owned by other powerful beings, who must be supplicated or bargained with to obtain a portion of their power? This choice has a huge effect on how dark the story is likely to become. we continue magic tomorrow

Click here for next post.

Spirit Deer 5

The stream roared in its bed, and towhees darted about, showing him their red sides as the flitted by. Tim was watching them, when he saw his deer. The stream took a sharp bend here, so he saw the muley through a double screen of willows and across the open space above the stream. Its forequarters were matted with dried blood.

“Finally,” Tim thought. He brought up his rifle. Walking at a half crouch, he worked out to the lip of the stream. The wind was upstream and the deer was not looking his way, so he waited, hoping it would move. A tree trunk lay between Tim and a prefect shot. But the muley didn’t move, so Tim carefully shifted sideways.

A rock turned under his foot, the rifle went off into the air, and Tim fell through space into a pit of blackness.

Chapter 2

Tim was caught up and swept away. For an eternity, he fell through frigid space, beaten by unseen fists.

Then there was a time of drifting and slow surrender.

There was an endless slope where he chased his quarry. Then the quarry turned on him and he was running downhill in frenzied panic.

There was the cold. The numbing, all consuming cold.

Finally there was ultimate blackness.

* * *

It was the cold that woke him.

His consciousness did not return all at once. First he was aware of the crumbled granite beneath his cheek. Then he became aware that his clothes were wet and that the world was dark.

Tim rolled over onto his back, tearing his ice encrusted jeans loose from the rock. The moon was up and for a time Tim had no idea where he was.

Fire! He had to have a fire. His clothes were soaked, where they had not crusted with ice. He reached for his match case, but it was not there. The survival pack was torn open and empty.

He sat for a minute, holding his head and shivering.

He was beginning to remember his plunge into the stream. Somewhere along the line, he must have hit his head. His fingers explored his scalp and came away damp and sticky. He had probably smashed into one of the boulders that studded the stream.

He raised his head and looked around. He was nowhere near the stream. He was high on a slope in broken granite country; the boulders and stunted trees around him made fantastic shapes in the night.

And he was freezing!

The cold was intense. As he became more fully awake and aware, Tim’s discomfort changed to pain. His fingers ached deep in the joints and he shivered so that he could hardly move.

His rifle was gone. His watch was gone. He had an empty canteen and a hunting knife at his belt, but the canvas case that held his survival kit had torn open. The snake bite kit, salt tablets, coil of snare wire, coil of fish line, hooks, sinkers, compass and plastic poncho – all the things his dad had helped him put together, all were gone. He still had the clothes he was wearing, a handkerchief, and four cartridges for his missing rifle.

Those cartridges seemed his best hope of a fire. He knew how to start a fire with them if he had a rifle. But without one . . . ?

He gathered firewood as best he could in the near darkness, where the moon only showed occasionally through the clouds. Using his knife, he shredded bark from the driest wood and cut fuzz sticks. He arranged this tender on a flat rock and worried the bullet out of a cartridge with his teeth. more tomorrow

367. Alien Autopsy (5)

The other four Alien Autopsy posts were in Serial last week. After they were finished, I realized that I needed to give you a better picture of the Cyl. They are kind-of my favorites.

On Cyan, the dominant alien species of the torrid zone are the Cyl.  Viki Johansen, the scout specializing in Anthropology.—

. . . began a campaign of attrition and, after eight months, managed finally to enter the Cyl camp without disturbing them. They had become so used to her presence that they largely ignored her, and first-hand she confirmed her suspicions that the Cyl were of Australopithecine level intelligence

Their ears, she discovered, conveyed a complex emotive language that no one could hope to translate. Every position, every nuance of stance, was replete with meaning, and immense complexities of feeling could be portrayed by counterpoising irreconcilable emotions against one another. Yet there was no communication of ideas.

The Cyl are physiologically incapable of speech. After some changes you’ll have to read the book to find out about, “they” are taught to sign. Much later, Keir Delacroix meets up with a Cyl leader, and describes her —

The leader was an old female. Her scale filaments were sparse and shaggy, and her gel glands were puckered and no longer functioning. It was the first close up look Keir had had of a living Cyl. When she squatted at rest, her powerful hind legs jutted forward at a sharp angle and she rested her tiny forearms across her huge, scarred knees. Her mouth was broad and toothy, her bare facial skin stretched taut over massive bones and utterly impassive. She had no need of facial expression while her ears played symphonies of feeling.

Still later, Viki and her Cyl come to Beryl, Debra, and Tasmeen, needing help, and there is a dangerous moment of interspecies distrust.

The Cyl heads swiveled back toward Beryl and Debra again. There was no change of expression. There never would be, never could be, any change of expression on those bony faces. That fact alone would always keep humans and Cyl from completely trusting each other, for the humans, with their immobile, underdeveloped ears were as expressionless to the Cyl as the Cyl were to humans.

It comes near to a bloodletting as Beryl stands, armed, between the Cyl she has never seen, and her child. But then . . .

The Cyl ears moved in a symphony of sudden understanding, and of appreciation for the humanity of these strange creatures who would die — just as a Cyl would die — to protect their young.

The lead Cyl leaned forward and placed her darts, crossed, on the floor in front of Beryl and Debra. Her two companions quickly copied the motion, then all three shuffled backward. They were awkward inside the dome where the furnishings of the place made a maze for them to negotiate. As bounders, they were creatures of the unobstructed open plain. This human habitation was utterly foreign to them, not because of the steel from which it was made, or the interlocking triangles of its geodesic construction, but because it was cluttered. How could one hope to move about in it?

Beryl just stared at the Cyl. Their huge heads, their stone faces, and the heavy teeth showing through the thin slash of their lips, were too much for her to trust.

Cooler heads prevail, and Viki explains their need. Tasmeen is quick to come to their defense.

Viki was signing to her Cyl as Tasmeen spoke. It was not a translation. Cyl thought was too different for that. What she signed were a string of independent concepts. Had she been Cyl, the positions of her ears would have placed the concepts in an emotional context and tied them together into a rich and complex whole. When the Cyl spoke to Viki, that was what she received, the great subtlety of hands and ears in concert, but when she spoke, it was, to the Cyl, as if she were a halting child. She said:

WOMAN. LEADER. POWER. (my) PRIDE. TRUST (her).

The lead Cyl signed that Viki’s trust in Tasmeen was like the trust of the entire Cyl race for Viki; that in trusting Viki, they therefore trusted Tasmeen; that they too recognized the power in this woman; and that it was a lovely irony (the Cyl live for irony) that the sister of the mother of the race of Cyl was of an age to be the daughter of the mother of the race of Cyl, and therefore this woman of power who was their mother’s-sister was also their agemate-sister, so that the emotions of love and respect that they must necessarily have for her as the savior of their race were also the emotions they would choose to have for one who was both mother and sister to them all.

This she said in a three-second flurry of ear and hand motions.

Beryl watched, wondering if this hulking, stupid-looking creature was really of human intelligence, or if Viki was merely fooling herself.

A little irony never hurts.

The best aliens not only look different, but think differently as well.

Spirit Deer 4

Tim started up the slope and the muley broke from cover.  With surprising speed, it went up the slope on three legs. Tim sighted quickly and squeezed the trigger – but nothing happened! He had forgotten to work the lever after his first shot. He jacked a shell angrily into the chamber and fired, but the deer kept right on going, and he knew he had missed.

Tim topped the skyline fifteen minutes later. Below him was a broad, shallow valley, now lost in shadow, and behind him the sun was setting. The deer was nowhere in sight.

* * *

Tim was in trouble, and he knew it. It was too late to find his way back to the campground before full dark, and he was growing cold, so he built a fire near a circle of junipers. He had slept out many times with his father, but never without a sleeping bag or jacket, and never without food. “Serves you right,” he told himself, bitterly. He fed the fire and squeezed close to it.

Tim could imagine his mother coming home from work, past midnight, and moving about the silent, empty house. She would see his note. If he was really lucky, she would assume that he had decided to spend the night at his grandfather’s house. It would be late, so she probably wouldn’t call. It would probably be morning before she knew he was missing.

If he just had his cell phone he could have told her what happened, although he cringed at how lame the story would sound.

It was a miserable night. Tim dozed in snatches on a bed of dry ferns and needles. Before is was fully light, Tim had already stamped out his fire and started off, but even exercise did little to warm him.

He had a decision to make. Within an hour, his mother would be calling his grandfather, and would find out that he wasn’t there. He didn’t want to worry her, but there was no way to avoid it now. The question was, should he go back immediately and face her, or should he spend a little more time to bring the muley in. He decided to spend one hour looking for the injured muley, then he would have to go back.

The ground was too rocky to take tracks, so he headed for the stream he could see at the base of the valley. It was rocky with only a few patches of dirt, and he found no tracks there, so he worked his way downstream, looking for anything to indicate that the deer had passed that way.

Just when he was about to give up and turn back, he found three-legged deer tracks.

Now Tim was really in a dilemma. He didn’t want his mother to worry, but he didn’t want to leave his wounded deer either. And he certainly didn’t want to have to tell his dad that he had left a wounded animal.

“Just a little longer,” he decided.

Tim followed the tracks down the valley. It was slow work; the tracks only appeared at scattered intervals where the ground was soft enough to hold them. Several times he lost them altogether, but always managed to pick them up again.

The sunny morning was turning into a very cloudy day. Up here snow would be dangerous, and even rain would be a first class misery. At least he had the survival pack his father had helped him put together. It held matches and a plastic poncho, and he never went into the woods without it.

The stream roared in its bed, and towhees darted about, showing him their red sides as the flitted by. Tim was watching them, when he saw his deer. more next week