My Favorite Android: The Murderbot Diaries

The first use of the word “robot” dates back to the 1920’s (robotnik or similar being a term for factory worker in many slavic languages), but the word “android,” meaning a miniature human-like automaton, is older, as far as 1863. A robot – a disembodied piece of machinery – does work for you – like a Roomba, or the useless rolling pest in the grocery store that spies on people who might steal things (at least Roomba can clean up a mess it finds, and doesn’t cost $35,000). An android looks like a human, moves like a human, interacts like a human (more or less), but inside is a machine.

That fact has led to a huge amount of introspection – how do we define Human? Is a self-aware, English-communicating Gorilla a person? What about our AI creations? When a computer becomes self-aware, does it have a soul? Is it “human”? At that point, is the use and ownership of an android slavery?  That question was battled in the Star Trek: The Next Generation episode “Measure of a Man,” where Starfleet claimed to own Data the android and control him like equipment, while the case was made he was sentient and free. The movie(s) Blade Runner also focused on that question. 

I’m not a techie. Computers are great if they do what I need,  but I couldn’t care less about future tech, AI interfaces, androids, or streaming. Anyone who knows any science fiction knows you never trust AI or give it too much power. I like Data, I don’t love Data. C3PO is annoying. I hated Marvin the Paranoid Android. No matter how many times I watch Blade Runner, I think it’s one of the most boring movies ever (I still love The Six Million Dollar Man, but he was a bionic human, not android). So I was really, really surprised that I even picked up the book All Systems Red by Martha Wells, also known as The Murderbot Diaries #1. Not my kind of book. But from the first page, I could not put the book down. I read it while cooking. I read it while my kids were in the tub. I read it while walking. I had to finish it in one day. Thankfully, it’s a short novella, and that’s entirely possible.

Murderbot, as it calls itself (it has no gender. Murderbots are not built for sex; that’s a sexbot), is a Security Unit (SecUnit), a partly organic robot/android construct built to provide security detail for whoever rents or buys it. Of course, mostly what security entails is killing whatever might harm the persons it’s hired to protect, hence the term Murderbot. Murderbot, however, manages to hack its own governor module, releasing itself from control by the company who owns it. 

This starts Murderbot on a soul-searching (or soul-developing?) quest to find out exactly who or what it is now, all while working hard not to let anyone realize it’s free, because an uncontrolled killing machine is a very, very dangerous thing (to quote Kyle Reese from Terminator, “That terminator is out there, it can’t be bargained with, it can’t be reasoned with, it doesn’t feel pity or remorse or fear, and it absolutely will not stop… EVER, until you are dead!”).  But Murderbot isn’t fond of killing. He’s fond of soap operas and TV serials (like The Rise and Fall of Sanctuary Moon). All he wants is to be left undisturbed to watch his shows while he tries to figure out the human race. Life never lets him, and he feels obligated (like the heroes in the soaps he watches) to help while trying to solve the mystery of who is trying to kill the people he was hired to protect.

Murderbot is sarcastic, droll, funny, depressed, almost autistic in his stilted approach to emotion and interaction with people. He’s a fast thinker and an opportunist. He says s**t a lot more than Data. He doesn’t want to be human, yet is fascinated by them and can’t stop studying them. And he makes mistakes, just like a human. The innovative – and logical – adaption/hijacking of computer systems has opened my eyes to issues I’ve never given a thought to, such as the power of drones. With all the issues currently happening via ransomware, spying, and breaches, and the mass-market and miniaturization of drones, maybe we should be thinking more along the lines of Murderbot, as our military is also controlled by computers, and nothing but nothing is hack-proof. People mistrusted the NYPD robodog so much they had to send it back.

I had to read the second book Artificial Condition (possibly my favorite, because of ART, Murderbot’s name for the “A*****e Research Transport” ship computer), whipped through the third, Rogue Protocol , flew through the fourth Exit Strategy, (also possibly my favorite), and am now reading the fifth, Network Effect. The sixth and current volume is Fugitive Telemetry, with three more commissioned by the publisher, and a TV version is in the works (please, please don’t mess it up!). All Systems Red has won the Nebula Award, the Hugo Award, the Alex Award, and the Locus Award. Yes, the stories are simple (good guy must take down bad guy) but the humanity and humanism throughout the series will keep you emotionally invested to the very end. 

Pure enjoyment, with no other agenda. Murderbot is my favorite android ever. 

 

That Wild Wild West

Westerns are not my bag. They cover a very short piece of history (usually post-Civil War to the early 1900’s), they’re often trite, and too many of them bore me. You can run down a checklist for almost every one: Horse? Check. Damsel? Check. Angry Indian? Check. Sheriff?  Check. Big shootout? Check.

Clichéd

No doubt, much of my boredom has to do with Hollywood Westerns. Though I’ve never seen the entire Terror of Tiny Town, I’ve suffered a few westerns. I did like Tombstone, and the remake of True Grit, Young Guns, Maverick, and yes, I admit, I did enjoy The Lone Ranger – three times. Maybe I’m un-American, but I can’t stand John Wayne or his films, and while I was excited to watch High Noon (it was mentioned in the TV show M*A*S*H*, and actor Harry Morgan appeared in both), it was a terribly disappointing, tragically dull film to someone used to modern Hollywood. It turned me off from ever attempting My Darling Clementine or Shootout at the OK Corral. So while I can handle modern westerns, those old classic hallmarks aren’t found on my shelves.

Nor had I ever read a real “Western,” although a couple of Best-Western Literature lists include children’s books like the Little House on the Prairie series, as well as Old Yeller (you could probably throw in Young Pioneers, Caddie Woodlawn, Seven Alone, and the sequel to Old Yeller, Savage Sam), and those I loved just fine. If you read through twenty different lists of what’s considered the best of Old West literature, you’ll find ten books are on every list, so let’s call them the Best Westerns of Literature (not to be confused with Best Western, the hotel, or Western Lit as opposed to Asian):

The Virginian – Owen Wister
Hondo – Louis L’Amour
Lonesome Dove – Larry McMurtry
True Grit – Charles Portis
All the Pretty Horses – Cormac McCarthy
The Shootist – Glendon Swarthout
Riders of the Purple Sage – Zane Grey
The Time it Never Rained – Elmer Kelton
The Ox-Bow Incident – Walter Van Tildenberg Clark
Shane – Jack Schaefer

Fresh and Award-Winning

I could have lived the rest of my life just fine without Westerns, except for one thing: someone I knew was writing one. I’ve seen Howard Weinstein for many years at various conventions, attended some of his writing workshops, and we know each other at least in passing. Howard’s written more than 18 books, from science fiction to dog training to Mickey Mantle, and some 65 comic books. To make sure he got it right, he visited several of the places he wrote about, making sure he got the details, and over a year or more I listened to him talk about his work and read excerpts from it. It was interesting, but… It was a western.

Galloway’s Gamble was published last September, and now it’s won an award: The Western Fictioneers Peacemaker Award for Best First Western Novel. So I had a quandary: support a fellow writer in his award-winning endeavor, or ignore his success on a project he loved dearly. I thought I’d done my duty by having the library order a copy, but I buckled down and opened my first western.

photo courtesy of Howard Weinstein

Galloway’s Gamble is the story of Jake and Jamey Galloway, two brothers who shift about aimlessly looking to find their purpose and not doing well at it. They join the Civil War too late, they miss marrying the girls they had their eyes on, they get taken by a cheating card shark, and horse-shy Jake just can’t manage to hang onto a hat. Yet, little by little, they take steps and missteps to change their fortune, and wind up trying to save their little Texas hometown from the villainous cattle baron Wilhelm Krieg and the corrupt banker Silas Atwood. 

As a western, I can’t judge Galloway’s Gamble, since I’ve read nothing to compare it to, but winning an award is pretty good sign. As a novel, you certainly don’t have to like westerns to enjoy it. The story of the Galloway brothers is a timeless tale of the little man against the powerful, with a cast of characters that never lets you walk away for long – you have to pick it back up and find out what happens. While the influence of films like Maverick is evident (which is not a bad thing), there isn’t an overwhelming number of bullets, horses, swaggering men in hats, and no cliché’d slang that could be a turn-off to the casual reader. Instead, you get a solid, interesting story that just happens to take place in the late 1800’s.

Give it a try. If you like it (and I’m sure you will), you might find some of the classic westerns to your liking, too. I think I’m going to go watch Maverick again.

Book Recommendations Based on Your Favorite Marvel Superheroes

The Marvel Universe has never been more popular, with more movie and television adaptations being produced every year. But in between movies and TV seasons, what’s a superhero superfan to do? These YA books can help to fill the void your hero has left behind:

If you’re an Iron Man fan, try The Thousandth Floor by Katherine McGee. A tale set in a luxury tower 100 years in the future follows the experiences of an addicted perfectionist, a betrayed teen, a financially strapped girl, a socialite with an illegal A.I., and a genetically perfect girl. In this world, the higher you go, the farther there is to fall.

If The Incredible Hulk is your guy,  Monster by Michael Grant is also pretty incredible. When  meteorite strikes introduce an alien virus that gives humans unique superpowers, it triggers an epic battle between teen hero defenders and out-of-control supermonsters.

Need more like Thor? Try the Magnus Chase series by Rick Riordan. After the death of his mother, Magnus finds out that he is the son of a Norse god and must track down a lost ancient sword to stop a war being waged by mythical monsters.

If you love Guardians of the Galaxy, give Invictus by Ryan Graudin a try. Born outside of time as the son of a time-traveler from the 24th century and a first-century gladiator, Farway takes a position commanding a ship that smuggles valuables from different eras before meeting a mysterious girl with knowledge that places his existence in question.

If you can’t wait for the next Black Panther movie,  try Children of Blood and Bone by Tomi Adeyemi in the meantime. Zâelie, her brother Tzain, and princess Amari fight to restore magic to the land and activate a new generation of magi, but they are pursued by the crown prince, who believes the return of magic will mean the end of the monarchy.

 

 

 

A Legacy of Spies

The other year, in preparation for a novel I hoped would have more intrigue and action than I was used to writing, I decided to break with my comfort zone and read a few spy novels to deconstruct the genre and see how the action was set up and paced. I’d read a James Bond novel once and was less than impressed; the movies I loved so much were horribly dull novels, and the book-Bond looked much more like Truman Capote than any pretty-boy actor.

I didn’t want to waste time, so I Googled “best spy novels”, and one of the top two on almost every list was John LeCarré’s 1974 novel Tinker, Tailor, Soldier, Spy, so that was the one I read first.

The lists were right. The book was brilliant, and I couldn’t put it down. After that I rushed out to watch the 2012 BBC film version, an incredible cast including Toby Jones, Gary Oldman, Benedict Cumberbatch, John Hurt, Tom Hardy, and more – which was still excellent, though some people prefer the 1979 mini-series adaption with Alec Guinness (that’s Obi Wan Kenobi to some of you). The strangest part was that, while reading the book, I had already cast Toby Jones in one of the roles in my head  –  but as Peter Guillam, though, not Percy Alleline as he was in the film.

Why so good? Well, see – like Ian Fleming, John LeCarré (real name: David Cornwell; spies aren’t allowed to use their real names to publish novels) was an actual British spy in World War II, so he knows the ins and outs and tiny little details of how the game is played, layers upon layers of secrets and trades and double-dealings. He’s lived it first hand, and that makes all the believable difference. He began writing novels in 1961 (Call for the Dead), but it wasn’t until his third novel in 1963, The Spy Who Came In From the Cold, that he hit the best-seller list and wound up quitting MI6 (the British Secret Intelligence Service) to pursue writing full time.

While all of us sit here and think, why would you quit being an awesome spy to write books?

But LeCarré certainly is good at it, with more than 24 novels to his name, almost all of them best-sellers. Several have been made into successful film adaptions, including The Constant Gardener (2005), starring Ralph Fiennes and Rachel Weisz, The Spy Who Came in From the Cold (1965) starring Richard Burton, and the recent delicious adaption of The Night Manager (2016), starring Tom Hiddleston and Hugh Laurie, a book that reads more like a James Bond adaption than a Bond novel does.

Unable to sit still in retirement, LeCarré, now 86, has pumped out yet another novel last year, A Legacy of Spies, a conclusion of sorts for George Smiley’s people, his ex-agent who keeps coming back. Pulling his best-loved characters from so many of his novels, LeCarré manages to weave them together with new characters in present-day, finding new depths and bringing new truths to light, even after 50 years. LeCarré shows that time has not diminished him nor his characters, and if you think you know how it will end, like all of his works, it’s pretty well guaranteed you don’t.

Give le Carré a try. If you like mystery, espionage, intrigue, and unraveling puzzles with characters who won’t let you go, then you’ll love his work. If you haven’t tried him, he’s a wonderful place to begin to explore the genre. For modern novels, he’s rather clean, without a lot of graphic violence or sex or language, perhaps making the stories even more remarkable. Start with Legacy of Spies and work backward, or start at the beginning and work forward. If you prefer to watch rather than read, there are more than ten films, five television adaptions, and four radio plays to keep you entertained. You’ll be so glad you did.

Tracking Black Panther

One of the more controversial topics in Hollywood is the concept of whitewashing – casting a white actor in a role meant to be Black, Asian, Native American, Latin, or other ethnic group. Some of the more egregious examples are Laurence Olivier (and Orson Welles) playing  Othello – in blackface, Ralph Fiennes playing Michael Jackson; Mickey Rooney (Breakfast at Tiffany’s), Katharine Hepburn (Dragon Seed), and John Wayne (The Conqueror) as Asians; Johnny Depp as Tonto (Lone Ranger); Tilda Swinton as an Asian man (Dr. Strange), or the one that ruined my childhood: finding out that Native American Iron Eyes Cody of the 1970’s Keep America Beautiful campaign was actually a man of Italian descent.

Big-Budget Black-Lead Films

In fact, serious big-budget black films are hard to come by. Indeed, most of the highest-grossing black-lead films are comedies (Eddie Murphy has 5 of the top 7, not including Beverly Hills Cop), despite some very top-quality dramas (The Color Purple, Fences, Moonlight, The Help, Soul Food). Yet Samuel L. Jackson – I’ll see anything he’s in – ranks number TWO on the list of actors with top box office revenues, pulling in a combined domestic gross of more than 7 BILLION dollars for his 126+ films (#1 is Stan Lee. He has a cameo in every movie he makes). Even Hollywood protested the lack of serious roles for black actors, and stirred a controversy over a glaring absence in Oscar nominations despite worthy black films, a problem starting to be rectified in 2017. Not great if you’re a black kid looking for role models. The Adventures of Pluto Nash just doesn’t cut it.

A New Superhero

Now, Hollywood may be on the verge of a true black superhero blockbuster with the release of February’s Black Panther, Marvel’s 18th release into its megahit superhero franchise. Following his debut in 2016’s Captain America: Civil War, T’Challa – holding the title Black Panther – is the king of the fictional African country of Wakanda, who gains superpowers from a heart-shaped herb and connections to a mystical Panther God. When his father is assassinated in Civil War, T’Challa returns to Wakanda to discover his claim to the throne being challenged. T’Challa must team up with a CIA agent and the Wakanda Special Forces to prevent a world war.

The History of Black Panther

Black Panther was the first black comic book superhero, ever (1966), so early he predates the political party. Chadwick Boseman does a phenomenal job as T’Challa, and the movie promises to have the same serious craft and attention as the rest of the Marvel films. The previews are visually stunning, with rich ethnic textiles and cultural details that leap off the screen, drawn from no fewer than five different African cultures. Not only a superhero, but a culturally relevant one as well – which of course, immediately started another controversy whether or not the movie is celebrating African culture or trying to appropriate it. The movie was originally green-lighted in 2011, and the script approved in 2015. Hollywood doesn’t get better than this.

Of course there are now other black superheroes. Luke Cage’s TV series has had luke-warm reviews. As the XMen movies progressed, Storm played less and less of a role. Sam Wilson is a great sidekick, but no Captain America. Iron Man’s buddy Rhodey Rhodes/War Machine/Iron Patriot may be Don Cheadle, but he’s still just a sidekick called in when an extra guy is needed (at least, in the films). In Black Panther, black youth – and everyone else – may finally have found a superhero they can look up to, in full, serious, big-screen, big-budget glory, and he is Marvel-ous.