Demons (2002) by John Shirley

Demons (2002) by John Shirley: Really a two-part novel with the halves composed about a decade apart. Demons starts as a splattery supernatural horror novel before metamorphosing into a reality-bending adventure about 100 pages in. One day in the near future, thousands of apparent demons of seven different varieties invade Earth and start killing, torturing, and acting like dicks on the Internet. And that's just the beginning.

The novel shifts into Philip K. Dick territory, and then shifts further into the sort of metaphysical science fantasy that Colin Wilson hit people on the head with back in the 1970's in bait-and-switch novels like The Space Vampires and The Mind Parasites. The philosophies espoused here are much more palatable than those in Wilson's novels. Moreover, Shirley keeps his characters fallible and the ground-level stakes in view. The scenes of horror towards the end of the novel are more Zombie Apocalypse than Demonic Invasion, but they're repeatedly framed in terms of human loss and sorrow.

I liked Demons a lot. Your response may vary depending on how much mystical lunacy you're willing to withstand. Recommended.

Levels of the Tomb-World

The Three Stigmata of Palmer Eldritch by Philip K. Dick (1965): Before there was virtual reality, Philip K. Dick spent a lot of time mulling over virtual reality in a wide variety of ways, from the machine-produced to the religiously derived concept of Maya, the physical world of illusion. Dick himself noted on more than one occasion that the two main concerns of his vast body of work seemed to be 'What is reality?' and 'What is a human being?', and this mid-1960's novel explores both issues on a number of levels.

Dick certainly didn't aim to predict the future; what increasingly disturbs in his work is his ability to predict the attitude of the future, our present. Various forms of mediated realities, dream-states, trance-states, and constructed environments play a part in The Three Stigmata of Palmer Eldritch, with the boundaries blurring between them throughout the novel.

Things on Earth and in Earth's colonies in the Solar System are pretty grim as the novel begins. Earth is getting hotter, to the extent that nobody goes outside unprotected during the day-time. Earth's colonies on various worlds and moons are such a grim slog that the United Nations forces people to relocate there -- and once there, almost all citizens quickly become addicted to the drug-enhanced game of Perky Pat, which I am not even going to try to explain at length here. It involves a virtual reality and a form of mind-sharing.

From Proxima Centauri returns the explorer Palmer Eldritch. And he's got a new drug. One that seems to promise an endless ability to reshape one's own past, perhaps in a virtual state, perhaps for real. But what does he get from this, other than money? A handful of people will try to find out, or possibly die trying. Or something.

It's a deceptively dense novel with a nicely defined group of protagonists, or antagonists, depending on the situation. Dick's wealth of invention is at full burn: the pervasive use of precognitive humans to predict what new products will sell is one such touch, and there are many others. It doesn't look like our future at all, except that it looks exactly like it. Highly recommended.

Holidays In and Out of the Sun

Total Recall: adapted by Kurt Wimmen and Mark Bomback from the screenplay for the 1990 film of the same named adapted by Ronald Shusett, Dan O'Bannon, Jon Povill, and Kurt Wimmer from the short story "We Can Remember It For You Wholesale" by Philip K. Dick; directed by Len Wiseman; starring Colin Farrell (Quaid/Hauser), Kate Beckinsale (Lori Quaid), Jessica Biel (Melina), Bryan Cranston (Cohaagen), and Bill Nighy (Matthias) (2012): Surprisingly enjoyable, relatively non-campy remake of the 1990 film that was itself a very loose adaptation of a Philip K. Dick short story. Neither film has the courage to go all the way with the mind-fuck that Dick's story ends with, but it's Hollywood, where Inception is the height of reality-bending.

This Total Recall leaves out Mars entirely and instead posits a future Earth where chemical warfare has reduced the world to two liveable zones, one a British Federation (though few have British accents) and the other the Australian Colony that supplies the Federation with manual labour. Travel between the two zones is with a massive and fairly nifty elevator through the centre of the Earth. Admittedly, I'm pretty sure a civilization capable of building a massive elevator through the centre of the Earth would probably find a little chemical warfare clean-up to be an easy task. Oh, well.

As with the first film, a visit to Rekall, a company that imprints false fantasy memories into the minds of people looking to escape their humdrum lives, causes Doug Quaid to discover that his own memories are false. Or are they? Much shooting and exploding ensues.

The original was funnier, and there's no substitute here for Kwato, but the three-breasted hooker does have spectacular breasts. Three of them!!! Jessica Biel and Kate Beckinsale are decent as good and bad love interests, while Colin Farrell invests his character with humanity and a seriousness of purpose that actually make one care about what happens to him. Recommended.

Chernobyl Diaries: written by Oren Peli, Carey Van Dyke, and Shane Van Dyke; directed by Bradley Parker; starring Ingrid Berdal (Zoe), Dimitri Diatchenko (Uri), Olivia Dudley (Natalie), Devin Kelley (Amanda), Jesse McCartney (Chris), Nathan Phillips (Michael), and Jonathan Sadowski (Paul) (2012): Oren Peli, patron saint of the second generation of found-footage horror movies, here supplies some of the writing for a conventional narrative horror film that nonetheless borrows all its camera tricks (by which I mean shaky-cam, and lots of it) from Peli's Paranormal Activity movie.

Six stupid twenty-somethings and one Russian guide visit the area around Chernobyl, long evacuated of people, still somewhat radioactive. You know hilarity will ensue. And it does! The stupidity quotient is quite high here -- for everything to happen as it does, the guide has to do something inexplicably stupid in the middle of the night.

I'm pretty sure I know more about the effects of radiation than the people who made this film. Disappointingly, none of the film was actually shot around Chernobyl. Serbia apparently has a lot of abandoned stuff. The characters range from unlikeable to just plain stupid. And the shocking climax lacks both shock and horror. If you figure out what the 'Diaries' of the title refers to, please contact me. Not recommended.

The Pirates! Band of Misfits: adapted by Gideon Defoe by his book of the same name; directed by Peter Lord and Jeff Newitt; starring the voices of Hugh Grant, Martin Freeman, Imelda Staunton, David Tennant, Jeremy Piven, Brian Blessed, and Salma Hayek (2012): If not for Paul Meahan, I would have gone to my grave believing this was another one of those crazy-ass Christian Veggie-Tales movies. Instead, it's an enjoyable romp from the people at Aardman (Wallace and Gromit, Chicken Run).

Much pirating, Charles Darwining, and poking fun at Queen Victoria fills the movie. It's not the greatest animated movie I've ever seen, but it's funny, with a number of fine set-pieces and some nice voicework from everyone involved. There are also a surprising number of gags based on the reaction that occurs when baking soda meets vinegar. Recommended.

Story Time

Science Fiction Omnibus: edited by Groff Conklin, containing the following stories: "A Subway Named Mobius" by A.J. Deutsch; "The Colour Out of Space" by H.P. Lovecraft; "The Star Dummy" by Anthony Boucher; "Homo Sol" by Isaac Asimov; "Kaleidoscope" by Ray Bradbury; "Plague" by Murray Leinster; "Test Piece" by Eric Frank Russell; "Spectator Sport" by John D. MacDonald; "The Weapon" by Fredric Brown; "History Lesson" by Arthur C. Clarke; and "Instinct" by Lester Del Rey (Collected 1956): Enjoyable, idiosyncratic anthology of mostly 1940's and 1950's science fiction from the once ubiquitous and always good Groff Conklin.

The two most-anthologized stories here are the Lovecraft and Bradbury offerings. John D. MacDonald, best known for his Travis Magee mystery novels, was also a prolific science-fiction writer in the 1950's, and his short-short story anticipates virtual reality in a startling and prescient way. Somewhat bizarrely, the Boucher story anticipates Alf! The rest of the stories are solid, with the Arthur Clarke offering probably having the funniest ending, as Venusians make some extremely wrong conclusions about the now-extinct Earth society based on one surviving film strip. Recommended.

　

Selected Stories of Philip K. Dick: edited and with an introduction by Jonathan Lethem; containing the following stories: "Beyond Lies the Wub"; "Roog"; "Paycheck"; "Second Variety"; "Impostor"; "The King of the Elves"; "Adjustment Team"; "Foster, You're Dead!"; "Upon the Dull Earth"; "Autofac"; "The Minority Report"; "The Days of Perky Pat"; "Precious Artifact"; "A Game of Unchance"; "We Can Remember It for You Wholesale"; "Faith of Our Fathers"; "The Electric Ant"; "A Little Something for Us Tempunauts"; "The Exit Door Leads In"; "Rautavaara's Case"; "I Hope I Shall Arrive Soon" (aka "Frozen Journey") (Collected 2002):

Any Dick short-story collection will be pretty good, as he wrote very few stinkers during his prolific career. Lethem leans a bit too much towards the science-fictional here, including one truly minor story ("The Exit Door Leads In", an unusually defeatist story, even for Dick) and excluding two of Dick's best horror stories, the stunning "The Father Thing", which I'd nominate as at least one of the 20 scariest stories ever written in English, and the creepily droll "The Cookie Lady", a Dickian exercise in dark Bradburyian whimsy.

I'd also have included Dick's hilarious 1950's story in which Scientology has become the world's leading religion. If you keep score of these things, pretty much every Dick short story ever adapted into a movie is represented here ("Paycheck"; "Second Variety" (as Screamers and its sequels) ; "Impostor"; "Adjustment Team" (as The Adjustment Bureau); "The Minority Report" and "We Can Remember It for You Wholesale" (twice as Total Recall)). Highly recommended, though the collection may whet your appetite for a more comprehensive survey of Dick's writing. Thankfully, he's pretty much entirely in print.

City of Fallen Angels

The Bible Repairman and Other Stories by Tim Powers containing "The Bible Repairman," "The Hour of Babel," "Parallel Lines," "A Soul in a Bottle," "A Journey of Only Two Paces" and "A Time to Cast Away Stones" (Collected 2011): Tim Powers is pretty much the best living American fantasist -- the only writer I'd say could contest him for this imaginary title would be Gene Wolfe. Longtime friend of Philip K. Dick, Powers may show Dick's influence in his eclectic choice of subject matter and in the intricate, sometimes byzantine complexity of his plots.

But Powers' other strengths -- his careful attention to historical detail and his ability to ground even the wildest of fantastic conceits in that detail -- are all his own. He writes fantasy as if he were a 'hard science fiction' writer.

Powers normally seems to prefer novels to spin out his detailed, involving tales, so short-story collections are rare and generally quite short. This is no different, but the density of imagination in the stories collected here makes this brief collection (less than 200 pages) seem much more filling than its length would suggest. All of the stories are filled with the wealth of invention and attention to detail that marks Powers' work; the general introduction and afterwords to each story supply fascinating insight into the inspiration for the stories.

Los Angeles, Powers' preferred locale when he's not travelling through time and space, is the setting for five of the six stories. The sixth and last, "A Time to Cast Away Stones," returns us to the horrifying early 19th-century world of Powers' novel The Stress of Her Regard, focusing on the fascinating Trelawny, a fellow traveller with Byron and Shelley who would live to be an occasional confidante of the Pre-Raphaelites, and who is noteable for almost wholly inventing a biography for himself that survived unchallenged for nearly 80 years. Highly recommended.

Don't Mess with His Cat

The Filth: written by Grant Morrison; illustrated by Chris Weston and Gary Erskine (2002-2003): It's helpful to know that 'the Filth' is British slang for 'the police.' Morrison and Weston present a world in which a secret police force called The Hand works to preserve Status: Q, the normative state of affairs in which most humans remains blissfully unaware of the extraordinarily strange world they really inhabit. Or so it seems, anyway.

Greg Feely is a normal, porn-loving fellow with a boring job and an ailing, beloved cat named Tony. Then he finds out that 'Greg Feely' is a parapersona, a hiding place for Hand operative Ned Slade. The Hand cleans up the messes that threaten the body politic, monsters and tyrants and murderers whose crimes resemble diseases and bodily frailties.

Giant, flying spermatozoa attack Los Angeles. A giant cruise-ship becomes a floating madhouse populated by hive-mind anti-persons. Normal citizens are found hideously and improbably aged to death.

The Hand's headquarters exist in a strange place over which looms what appears to be the hand of a dead God, clutching a pen. Time moves with hyperrapidity there, with unprotected life living and dying in minutes. In the Hand's HQ, agents come and go at the behest of over-constables Man Green/Man Yellow, given orders by strange, cybernetic beings. And one of the Hand's best agents, Spartacus Hughes, has gone rogue. The world shudders on the brink of destruction and revelation.

As with Morrison's earlier, longer The Invisibles, The Filth rewards multiple readings. The art by Chris Weston and Gary Erskine is clean and straightforward -- the grotesque and the sublime completely in focus (well, except for some pixelated male penises, as DC Vertigo apparently won't show them if they're erect). It's a darned peculiar book, yet it all makes sense in the end. Highly recommended.

Fever Dream

A Scanner Darkly: adapted by Richard Linklater from the Philip K. Dick novel of the same name; directed by Richard Linklater; starring Keanu Reeves (Bob Arctor); Robert Downey Jr. (James Barris); Rory Cochrane (Charles Freck); Winona Ryder (Donna Hawthorne) and Woody Harrelson (Ernie Luckman) (2006): Adapter/director Richard Linklater achieved at least three remarkable things with A Scanner Darkly: he created the most faithful movie adaptation of a Philip K. Dick novel or short story ever; he created an outstanding science-fiction film; and he maximized the limited acting ability of Keanu Reeves by casting Reeves as a burnt-out case in the midst of a drug-fueled mental breakdown.

Reeves plays Bob Arctor, a near-future California undercover government narc charged by his superiors with helping win the war against Substance D, a highly addictive illegal substance that rapidly causes irreversible brain damage in those addicted to it, partially by severing the connection between an addict's left and right brain hemispheres.

Arctor is deep undercover, sharing a house with two other addicts and buying Substance D from a third in increasingly difficult-to-supply mass quantities in the hopes of moving up the supply chain. The government knows what the main ingredient of Substance D derives from -- a small, blue-flowered plant -- but it doesn't know who is growing it, refining it, and putting it on the street.

Dick based much of A Scanner Darkly on his own drug experiences of the 1960's and 1970's, experiences which saw him committed to a mental asylum for a time, and experiences which caused him to interact with a large number of doomed and mostly doomed addicts. Indeed, the movie appends a portion of the novel's afterword to the end of the movie -- a roll call of the dead and damaged.

The hyper-colourful, rotoscoped animation Linklater uses here (he first used it in Waking Life) suits the material and the tone of that material -- the movie looks like a fever dream, a pulsating nightmare in which nothing is stable. All the principals deliver outstanding performances, including Reeves, and perhaps most notably Robert Downey Jr., who presents us with a jittery speed freak (Substance D appears to be at least partially an amphetamine) over-bursting with his own paranoid delusions and fantasies.

The title is a play on the Biblical phrase 'Through a glass, darkly': there are scanners in this movie, but they aren't the Cronenberg variety. Highly recommended.

SFH

Science Fiction Terror Tales, edited by Groff Conklin, containing "Punishment Without Crime" by Ray Bradbury, "Arena" by Fredric Brown, "The Leech" by Robert Sheckley, "Through Channels" by Richard Matheson, "Lost Memory" by Peter Phillips, "Memorial" by Theodore Sturgeon, "Prott" by Margaret St. Clair, "Flies" by Isaac Asimov, "The Microscopic Giants" by Paul Ernst, "The Other Inauguration" by Anthony Boucher, "Nightmare Brother" by Alan E. Nourse, "Pipeline to Pluto" by Murray Leinster, "Impostor" by Philip K. Dick, "They" by Robert A. Heinlein and "Let Me Live in a House" by Chad Oliver (Collected 1955):

Conklin was one of the kings of mid-to-late-20th-century science-fiction anthologies, primarily of the reprint variety. As one of the first editors to get a chance to present science fiction to the growing market for paperbacks, Conklin introduced a lot of readers to both early and contemporary science-fiction greats.

Conklin claims that this is the first general anthology to present the mixed genre of science-fiction horror stories, and I can't see any reason to dispute him. Several of the stories would go on to become acknowledged classics, with "Arena" supplying a plot for a similar Star Trek: TOS episode and Dick's "Impostor" being turned into a lousy movie with Gary Sinise.

Paranoia, always a major trope of science fiction, and especially American science fiction, dominates the proceedings in disturbing tales like "They" and "Let Me Live in a House", while various alien invasions and infiltrations occur in several other stories. Boucher -- better known as the early editor of The Magazine of Fantasy and Science Fiction -- contributes a 1953 tale of U.S. politics that wouldn't seem out-of-place if it were published now. All in all, a solid collection. Recommended.