Showing posts with label 1988. Show all posts
Showing posts with label 1988. Show all posts

Monday, August 26, 2019

Craig Harrison (3): Days of Starlight (1988)



Craig Harrison: Days of Starlight (1988)


Antarctica. A small scientific base. A huge, unexpected discovery made in the ice: something which will alter not just our sense of the history of our planet, but the future of all mankind. Sound familiar?

Of course it does. John Carpenter's The Thing (1982) is, I suppose, the locus classicus for this particular plotline.



John Carpenter, dir.: The Thing (1982)


The special effects may look pretty hokey nowadays, but I can tell you that at the time they were quite horrifically compelling. Simply coming up with the idea of that severed head with legs scuttling around the base seemed like the kind of out-of-the-box thinking we simply hadn't encountered in horror films up to that point.

Of course there had to be a sequel - or rather a sequel / prequel - The Thing (2011), but it's interesting that they waited thirty years to make it.



Matthijs van Heijningen Jr., dir.: The Thing (2011)


And when it did come, it was immediately clear that many things had changed. The director is the star of the 1982 film. It's true that Kurt Russell got to run through his usual (slightly ironic) repertoire of heroics, but the film itself did not pander to the accepted conventions of how such things were supposed to run.

By 2011, the system had closed over and healed itself. There was a pretty girl starring - Mary Elizabeth Winstead - who got top billing, and whose oeuvre it tends to be linked to, rather than to that of its rather obscure journeyman director.

All in all, it's hard to see it as much more than a reversion to type. The first film version of the story, The Thing from Another World (1951), though set in the Arctic rather than the Antarctic, sets up its story by the playbook of the standard 1950s alien paranoia film.



Christian Nyby, dir.: The Thing from Another World (1951)


Of course it's no accident that essentially the same film should have to be remade every thirty years or so. The owners of the rights to a story know that the copyright on their property will expire unless it's renewed from time to time - hence the repeated Hollywood versions of franchises such as King Kong, Mighty Joe Young, The Mummy, The Wolfman, etc. etc.



John W. Campbell: Who Goes There (1938)


All three films are based - somewhat loosely, it must be admitted - on John W. Campbell's novella 'Who Goes There?', first published (under the pseudonym Don A. Stuart) in the August 1938 Astounding Science Fiction, of which he was then editor.



John W. Campbell: The Thing from Another World (1951)


An earlier, longer text of the story, entitled Frozen Hell, found among Campbell's papers at Harvard, has recently (2019) been republished on kindle. It was, however, the original version which was voted in 1973 one of the most influential SF stories ever written - just as Campbell himself is (for better or worse) still considered one of the most influential editors of the so-called Golden Age of Science Fiction.



H. P. Lovecraft: At the Mountains of Madness (1931)


Of course, the actual premise of the story - the isolated base in the polar regions (North or South), the frozen aliens in the snow who revive unexpectedly, the desperate struggle for life against them - are all very reminiscent of H. P. Lovecraft's classic novella At the Mountains of Madness, written in 1931, then submitted to his usual outlet, Weird Tales, later that year. Farnsworth Wright, the editor, rejected it for reasons of length, and so, instead, it was eventually serialized in the February, March, and April 1936 issues of Astounding Stories.

Admittedly the story was actually accepted by Campbell's predecessor in the editorial chair, F. Orlin Tremaine. Campbell did not take over till the end of the following year, 1937, but clearly he must have read it, and presumably it influenced his own story.



Not that there's any great scandal in that. Lovecraft himself makes no secret of his indebtedness to The Narrative of Arthur Gordon Pym of Nantucket, the closest thing to a novel Edgar Allan Poe ever wrote, and, quite honestly, one of the weirdest and most extreme pieces of fiction ever composed.

Lovecraft ends his own story, in fact, with a direct invocation of Arthur Gordon Pym, quoting the strange cry 'Tekeli-li, Tekeli-li': 'a cry associated with mysterious white-coloured birds and uttered by the natives of the Antarctic land of Tsalal whenever they encounter white objects.'



Jules Verne: Le Sphinx des glaces (1897)


The enigmatic ending of Poe's story, with the hero and his companion drifting towards an immense chasm in the (warm) Southern ocean, just as an immense spectral white figure appears before them, is directly addressed in Jules Verne's sequel Le Sphinx des glaces [The Sphinx of the Ice] (1897), translated into English with the rather more prosaic title An Antarctic Mystery.



Dominic Sena, dir.: Whiteout (2009)


Once you start looking, It's actually quite difficult to avoid these rather dreamy associations between ice, enigmatic femininity, and dangerous secrets hidden in the preserving cold.

Take, for instance, the 2009 film Whiteout, where Kate Beckinsale - as a rather improbable US Marshall - acts as the involuntary Lorelei drawing large numbers of men to death in their search for the treasure concealed in an old frozen Russian transport plane (it turns out to be diamonds, rather than the fissionable nuclear material she fears it to be for most of the film).

Curiously enough, the French title for this US / Canada / France co-production, Enfer Blanc, translates as 'White Hell' - not too far from Frozen Hell, the original title for Campbell's novel. Plus ça change, plus c'est la même chose, as the French say - or, in Winnie-the-Pooh's paraphrase: "The more it snows, the more it goes on snowing."






[SPOILER ALERT: reading this part of the post before you've finished Harrison's novel will definitely wreck your appreciation of its dénouement!]

So what contribution does the ostensible subject of this post, Craig Harrison, have to make to this set of various flavours of frozen hell?



Thomas Keneally: A Victim of the Aurora (1977)


Familiar, undoubtedly, with the John Carpenter film and its various antecedents - though possibly also influenced by some more literary excursions onto the ice, such as Thomas Keneally's 1977 heroic-age-of-antarctic-exploration detective novel A Victim of the Aurora - he takes a rather unexpected tangent.




When a team of research geologists at a remote American base in Antarctica discovers a two-metre-long silicon crystal, it becomes their most prized specimen. No one, however, anticipates the disruptive effect of the crystal - on the base's technical staff, nor on the silicon-chip technology sperating the base.
An attempt to investigate the powers of the crystal results in a startling discovery that appears to be of unparalleled significance.
But as the long winter darkness descends over the vast expanse of the earth's most alien continent, the research scientists at the base realise they must draw on all their resources to fight for their very survival.

DAYS OF STARLIGHT, set in the not-too-distant future, is a chillingly credible and timely tale, combining elements of the politico-psychological thriller and of speculative fiction.



There's no doubt that Harrison keeps up the claustrophobia and intensity associated with such narratives every bit as well as any of his predecessors. He keeps the sinister political overtones, too. The 'Delta Force' commandos sent by Washington to wipe out everyone with knowledge of this particular strange discovery in the ice are close cousins to the ruthless 'Blue Berets' in Broken October: sinister armed thugs whose idea of a good time is raping and murdering everyone they encounter.

Almost up to the last page, the story sounds like something which would make a heck of a good made-for-TV movie: clautrophobic (= fewer sets to build and maintain); cold (= bleached-out colours and backgrounds, easy to film); and with a very small cast (= great savings on extras, with more to spend on star power).

But then a basic weirdness, which has been growing throughout, only half-perceptibly, begins to manifest itself. What is the mysterious satellite to which the equally mysterious silicon crystal appears to be linked? It's a kind of transmitter, of course. In function, it's very like the moon monolith in Clarke & Kubrick's 2001, designed to send a message to some aliens a long way off just as soon as the inhabitants of this particular rock have reached a sufficient stage of development to warrant it.

I say 'warrant' rather than 'deserve' it because the whole book is about just what we deserve. And by 'we' I mean any and all beneficiaries of European hegemony. 'What if the aliens came and they were black?' is Harrison's basic question.



Roy Thomas: Avengers #102 (1972)


The crystal has been keeping an exact holographic of - everything, you see. The aliens will only need to look through it to see just what we've been up to, and it won't be a pretty sight. The book ends with Ben the protagonist's realisation that we have approximately 30 years to clean up our act - that's how long it will take them to get here, travelling at near light speed. 'What to do till the sentinels come,' to quote the title of a classic Marvel comic.

Is there a certain element of bathos in all this, after so much build-up, so much tension, so much spy-thriller intrigues? There certainly shouldn't be: it's a most ingenious solution to the narrative problem of how to find a new twist on the old Antarctic base story, but somehow there is. Turning it into yet another iteration of the conundrum black-white race relations seems just a little forced after Harrison's far more straightforward engagement with it in Broken October, and even the more effective, albeit fantastical and dreamlike extension of that in The Quiet Earth.



Fred Hoyle: The Black Cloud (1957)


But perhaps, in the end, that's the point. Days of Starlight may not work perfectly as a thriller (à la Whiteout or The Thing). Nor does it really succeed in emulating some of its more strictly Science Fictional influences: Fellow-Yorkshireman Fred Hoyle's classic The Black Cloud (1957), for instance, for the alien intelligence; or Stanisław Lem's His Master's Voice (1968) for the baffling artefact from another world (in Lem's case, a line of code in a book of random numbers which turns out to have been generated by the transmissions from a certain part of space).



Stanisław Lem: His Master's Voice (1968)


I suppose, in the end, that's what makes it - for me - an exemplary piece of New Zealand Speculative Fiction. Insofar as this can be seen as a genre at all, it tends to involve a certain rejection of cosmic solutions and speculations in favour of more nitty-gritty, number-eight wire, alternatives.

Sentient oceans and hyper-intelligent clouds are all very well, Harrison appears to be saying, but we've made a terrible mess of the place and the people who are actually here, all around us. Let's make a full acknowledgement of what it is we've done, as a first step in the process of repairing it. It falls almost naturally into the wording of the Alcoholics Anonymous 12-step programme.
We:
  • Made a searching and fearless moral inventory of ourselves [Step 4]
  • Made a list of all persons we had harmed, and became willing to make amends to them all [Step 8]
  • Made direct amends to such people wherever possible [Step 9]
As such, I think Days of Starlight must be seen as a worthy culmination to the SF trilogy Harrison began with Broken October (1976) and continued in The Quiet Earth (1981).



Robert A. Heinlein: Starship Troopers (1959)


It falls in line more with the preoccupations of writer / critics such as Samuel R. Delany - who famously argued that the protagonist of Robert Heinlein's Starship Troopers must be black - and Ursula K. Le Guin, the hero of whose Earthsea books, Ged, was always intended to be dark-skinned, though he's seldom been portrayed in that way in cover illustrations - than with more familiar SF tropes and themes.



Ursula K. Le Guin: A Wizard of Earthsea (1968)


But, once you start looking for it, the subject of racial prejudice intrudes everywhere: in Isaac Asimov's "robot" saga; in many other manifestations of the Android theme (such as Stanisław Lem's Solaris (1961), filmed so memorably by Andrei Tarkovsky (1972); or - for that matter - Philip K. Dick's Do Androids Dream of Electric Sheep? (1968), the inspiration for the 1982 film Blade Runner).



Blade Runner (1982)


So what's the problem, then (if there is a problem)? I suppose, for me, it lies in the implications of Harrison's contention, throughout the novel, that black and white people's brains do indeed work differently, and are based on a different design. This manifests, for instance, in the greater amount of REM sleep required by the black, mostly service people on the base.

It turns out in context that this is a sign of superiority, not inferiority - and the racist assumptions to the contrary of the base's chief doctor, Kellner, are thoroughly satirised in context.

It's just that - even in the context of a quite far-fetched piece of speculative fiction, entertaining such ideas of a fundamental difference seems a dangerous one (Ben, the protagonist, turns out to be tuned in to the alien satellite's transmissions, communicated through dreams, thanks to the fact that his great-grandfather was in fact black - he therefore escapes the tone-deafness of the other honkies in the story).

It's not that Harrison is unaware of this peril. There's a passage early on where Ben and his love interest, Linda, talk about Dr. Kellner's research as follows:
'Well, if people like Kellner can prove that blacks have got inferior brains, then it means that they needn't worry too much about what the West has done in the last couple of hundred years. And goes on doing ...
'And this cerebrum makes us superior?'
'He reckons it's the centre of our rationality.'
'And the cerebellum's the opposite?'
'Yes: and much older. More primitive, he'd say. Controls all the magical, dreamtime, intuitive, visionary perceptions.'
'And the marvellous sense of rhythm.' [35]
Har-de-ha-ha. The trouble is, this isn't all that far from the actual underlying thesis of the novel. It's a little like the anthropologists who've postulated at various times independent lines of descent for Australian Aborigines and other native races from those which produced the Caucasian master race.



Carleton S. Coon (1904-1981)


The most notorious of these is undoubtedly the unfortunately named Carleton Coon, whose notorious book The Origin of Races (1962) argued:
that the human species divided into five races before it had evolved into Homo sapiens. Further, he suggested that the races evolved into Homo sapiens at different times.
Coon claimed that he had been prompted purely by a desire to follow the evidence where it led, but many of his contemporaries saw this idea as providing fuel for white segregationists and racists generally. Was Coon himself a racist? He, and most of his colleagues, have continued to deny the suggestion indignantly.

I did once see a documentary on the subject, though, where one of those colleagues summed up his feelings more or less as follows: he said that Coon had travelled to every corner of the globe, had met people of all races, worked and interacted with them, and lived among them. Many of them had become his close friends. And yet, he concluded, "I don't think for a moment that it ever occurred to Carleton S. Coon to regard any of them as his equals."

Craig Harrison - in his fiction and in his life - is a positive zealot for racial justice. This book of his is no exception. His fictional Dr. Kellner and the real-life Professor Coon would be seen by him as close intellectual cousins. But his book does have a tendency to encourage 'separate but equal' thinking about the various races of mankind.

It would be a real shame to dismiss his book unread on the strength of that, but I think that it does offer some explanation as to why so eminently filmable a story has remained untouched by directors ever since.



Pieter Bruegel: Hunters in the Snow (1656)
- a thematic reference in Tarkovsky's Solaris





Monday, June 14, 2010

Phillip Mann's Pioneers


[Phillip Mann, Pioneers (1988)]

For the past few years I've been collecting books by Phillip Mann whenever I run across them in second-hand bookshops (or - in the case of the Land Fit for Heroes series, public library sales). Why? Initially it was because Don Smith recommended Wulfsyarn to me as a great example of the "android theme." But after that I just got hooked. Here are the results of my efforts to date:

Phillip Mann (1942- )

  1. Mann, Phillip. The Eye of the Queen. 1982. London: Grafton, 1988.
  2. Mann, Phillip. Master of Paxwax: Book One of the Story of Pawl Paxwax, the Gardener. 1986. London: Grafton, 1988.
  3. Mann, Phillip. The Fall of the Families: Book Two of the Story of Pawl Paxwax, the Gardener. 1986. London: Grafton, 1988.
  4. Mann, Phillip. Pioneers. 1988. London: Grafton, 1990.
  5. Mann, Phillip. Wulfsyarn: A Mosaic. 1990. London: VGSF, 1991.
  6. Mann, Phillip. A Land Fit for Heroes. Vol 1: Escape to the Wild Wood. London: Victor Gollancz, 1993.
  7. Mann, Phillip. A Land Fit for Heroes. Vol 2: Stand Alone Stan. London: Victor Gollancz, 1994.
  8. Mann, Phillip. A Land Fit for Heroes. Vol 3: The Dragon Wakes. London: Victor Gollancz, 1995.
  9. Mann, Phillip. A Land Fit for Heroes. Vol 4: The Burning Forest. London: Victor Gollancz, 1996.





'How long have I been ill, recovering, in prison, whatever?'

'Almost eight weeks.'

'So long?'

'Only an adapted creature such as you would have survived. It's a wonder your body held together. And you will have lots of scars to tell your grandchildren about.'

'Shut up.'

'Sorry, that was a saying from the time when I was a boy. But you are alive, that is the main thing.'

'Is it?'

'You're not going to get silly are you. Listen, I've been alive a lot longer than you and I've seen a lot more ... I've seen a lot more than you could stomach of life and death. Grieve for Ariadne, yes. Grieve for your friends, yes. But you will live to fight again. Do you think they would want you to give up?'

'Oh shut up will you. Don't start morali - '

'Only the Ariadne you knew is dead. You can make another. '

He said this quietly and it stopped me. I thought briefly of the cold tanks in the back room of our ship. It was absurd, rude, insulting to the memory ...

'Why you .. .'

He moved his arm and I saw the gun he held, glowing red, fully charged, ready to burn but not to kill. 'I thought you'd react this way. Silly Chimp. Get a hold of yourself. Think. Damn you. Start to think. Go over to the window there.'

I obeyed.

'Now look down. Read what you see. The history of the world is the history of bereavement. Think how many people have walked, and kissed and died down there. You should think yourself lucky. You at least had a woman who loved you. What do the rest of us have?'

I didn't answer him but stared down at the milky rivers that wandered through the dark bush. We were already close to the volcanic region. I saw pits of yellow sulphur and dark green lakes which opened like holes in the bush. Vaguely, though I could not have given clear expression to the thought, I associated the suffering of the land with the grief that was now beginning to work through me.

'And if ever you get thoughts of attacking me because I tell you the truth, remember that I am watching you and I will set fire to your fur, but I won't kill you. Only stop you.'

He got up quietly and went to the door that led to the pilot's cockpit and slipped through, closing the door silently.

I found that when he had gone I couldn't settle. I wanted to grieve easily and steadily, but my mind was like a kitten that runs after one dancing string and then chases another.

Ariadne diving into water and laughing as she shook her hair; the strange grave woman April, with her spread of antlers; Bonniface waving a pig bone; the silver moun­tain; the dead-faced doctors who had shaved me; Murray, smug after love-making .... And below me the dark green hills moved past. I felt older and different. I looked at my huge scarred hand and the joints that flexed. 1 felt still and dry.
Murray was right. Life goes on and all that Time achieves is to leave its mark on you. Suddenly I was thinking about our ship and the sleeping clone that waited inches below the surface. What would Ariadne do if she were now standing in my place? Ariadne would know what to do. That clear and thoughtful woman had all the right instincts. I remembered how she had made me bomb the island of the ants. Remembering her fierceness and her strength did something strange to me. I suddenly thought that she was not dead. She was close to me. Hell, she was in my mind and in my fur. I felt a strange kind of elation. And even as I felt that elation, I felt a hollowness and knew that I would have to face many dark hours alone.

The helicopter began to lower and I saw familiar land­marks. We flew round the margin of the lake and over charred stumps and gaping gutted buildings. This was all that remained of the old mining town. There were no people. [pp. 192-93]

This passage from Pioneers (1988), one of Mann's most interesting books, exemplifies some of what first attracted me to his writing. The two speakers are Angelo, a "part-human" bred for the purpose of deep-space exploration, and Pioneer Murray, one of the full-humans Angelo is programmed to find and bring back to a post-apocalyptic Earth denuded of natural resources and biological diversity.

Murray has just saved Angelo's life after an appalling battle with the ignorant full-humans who still linger in odd settlements here and there in the few habitable parts of Aotearoa. Angelo's partner Ariadne was not so lucky, however. She died in the fight.

Or did she die? Part of the pre-planning for Angel and Ariadne's expeditions is the provision of a fully-functional and periodically-updated clone for each of them. Now that he knows that Ariadne is dead, Angelo's dilemma is whether or not he should revive her clone.

What would Ariadne do if she were now standing in my place? Ariadne would know what to do. That clear and thoughtful woman had all the right instincts. I remembered how she had made me bomb the island of the ants.

Angelo has recently developed an odd addiction to writing down all the incidents of his life (a fairly frequent Mann-ian device - witness the automated dictaphone Wulf in Wulfsyarn (1990). He's already told us of their unfortunate visit to the planet of the ants whilst attempting to retrieve yet another of the many pioneers which an ebullient, self-confident Earth sent out before the final catastrophe.

In this case they found the pioneer serving as a kind of combination hive-queen / food-basket for a race of super-evolved ants. Ariadne was the one who insisted that they bomb the island, destroying pioneer and ants alike - evolution should be permitted to go only so far in her view. The other pioneers they recovered had subsisted in a number of forms: winged, antlered, aquatic and so on - but this insect adaptation went far beyond what was acceptable to her, despite her only "part-human" status.

I watched the young man closely. 'Aren't you afraid of us" I asked as I took the tea carefully with my claw. 'Since we returned, most people seem to treat us warily.'

'Well you're just a ...' Pedro seemed to be searching for words. 'You're just a clever monkey, aren't you? Big but harmless.'

'And her?' I said nodding towards Ariadne.

He looked confused. 'Well she's a ... she's a woman, isn't she?'

I shook my head. 'No, We're the same," I said. 'Both adapted, despite appearances.'

He couldn't accept this thought.

'Angelo,' called Ariadne, 'stop trying to confuse the boy.'

He looked from one of us to the other. Me, ginger and giant and with a claw as big as my head. Ariadne, like a dream on legs.I watched him struggle.

'Oh hell, he said finally, 'the world is crazy.' [129-30]


Appearances are everything in the world they have returned to (Einsteinian relativity means that hundreds of years elapse on earth during each one of their expeditions. By now little memory is left of Angelo and his kind. Nor is the distinction between his "adapted" self (furry, ape-like, with a huge claw) and that of Ariadne (completely woman-like in appearance) readily comprehensible to this new generation who vaguely attribute the disaster to just such outrages against nature. Ariadne may look like a woman, but she lacks one crucial attribute of a woman: fertility. All of Angelo and Ariadne's kind are sterile, which explains his angry reaction to Pioneer Murray's gibe about having a tale "to tell your grandchildren about," above.

Angelo does indeed decide to reactivate Ariadne's clone, only to find that the clone denies any real identity between the two of them:

'I am not Ariadne. I might have been Ariadne. I have her memories but I don't have her experience. Memories aren't experience.' [227]

She writes out Ariadne's name backwards: ENDAIRA, and eventually settles on that as a new name for herself: Aira, for short.

"Curiously in her anger she was identical to the Ariadne I remembered" is Angelo's conclusion on the matter, though he is willing to recognise a number of other character discontinuities between them.

To say that Pioneers is about identity would be like saying that The Outsider is about existential doubt. Everything in the book is designed to complicate our view of what it is to be "intelligent," "conscious," "sentient" - let alone "human."

The first thing an awakened intelligence does is ask questions. [226]

The second thing, apparently, is to start to tell stories:
'Look, what I'm telling you is true. Heightened a little, that's the art of storytelling. But true all the same.' [330]

as Pioneer Murray puts it.

I ... stared down at the milky rivers that wandered through the dark bush. We were already close to the volcanic region. I saw pits of yellow sulphur and dark green lakes which opened like holes in the bush. Vaguely, though I could not have given clear expression to the thought, I associated the suffering of the land with the grief that was now beginning to work though me.' [192]

I think one of the things I like best about this particular book, though, is the strong sense of New Zealand-ness about it.

It's the only one of Mann's books of which this could be said. The Eye of the Queen, the Master of Paxwax series and Wulfsyarn are all set off-world, and his Land fit for Heroes tetralogy is set in an alternate-history version of Yorkshire (where Mann is from originally) - a Yorkshire which the Roman empire never retreated from.

In Pioneers, though, we get all the complexity of Mann's feelings for his adopted country: the long dark island lying between Wellington's pristine bays (cleared of humanity by the tidal waves of the disaster), to the space port at "Master Town", to Rotorua mining town (home of the returned pioneers, and scene of the terrible, unprovoked fight between Angelo and his friends and the intolerant full-humans), and finally to the ramshackle remains of Auckland. It's a kind of greeny vision of what the island should be but never quite has been. Mann's elegy for the complexities of our lost culture perhaps rings less true than the pleasure he obviously takes in this returning natural world.

I like, too, the materiality of Mann's concept of a book. For him (here, as elsewhere) it's a very physical artefact whose existence has to be accounted for within the story:

Kier has his woven basket and I have my papers, each one carefully written out by hand. Ariadne once asked me for whom I am writing. At that time I had no clear answers. Now I know. I am writing them for myself and no matter if they burn with me in space or end up sodden and trampled. Something was said. Something was done. [214]

Angelo, in the end, is both ape (in appearance) and angel (in name). The gentleness of his character is belied by the fearsome nature of his genetically-engineered claw and barrel-chest. Each act of compassion or fearlessness on his part is accompanied by a kind of antiphonal chorus

Programming, you see, bloody programming. [352]

But is it programming? And, if so, Nature's, or the manmade kind? Pioneers proposes no answers, but it asks (for me) all the right questions. Less cerebral than some of his other books, it benefits from a very intense sense of place - futuristic landscapes evoked with a kind of longing precision reminiscent of Wells's Time Machine or Richard Jefferies's After London.

Could this be still be called specifically New Zealand SF? I don't think it's a particularly important question. Mann was living here in NZ, having emigrated from the UK as a young man, when he composed all his major fictions (I'm pleased to report that his Wikipedia page claims he's now working on a new novel). Something in the fusion of these two places, the inevitable sense of (on the one hand) displacement and (on the other) acclimatisation has enabled him to create Angelo and to make his world ring true.

I'm not sure that there's that much new to be said about androids and humans after the Cyborg Manifesto and all that eighties cyberpunk. Phillip Mann's own personal contributions to the subject are distinguished, it seems to me, by a disarming diffidence, masking the elegant clarity of his conceptions. He's as much a poet as he is a writer of hard SF.