Star Trek - The Price of the Phoenix

Jim Kirk scrubbed at his eyes and tried to see, tried to breathe against the sobbing that racked him in uncontrollable spasms, tried somehow to ease the intolerable mass of pain that was his whole body.

It was only a little worse where the big arm crushed him against the massive chest, carrying him now like a child, the single arm looped around his chest and under his thighs, balancing him on one hip, while the other arm reached for something.

Still trying to avoid reading Memory Prime, I looked at my to read shelf and considered my options, all 100+ of them.

Then it caught my eye; I didn't think I had that one, says I, having obviously missed it when looking for the four Sondra Marshak and Myrna Culbreath novels.  Well, since I'd been feeling a little down I thought, well, they're usually good for a laugh.

I was right!

The Price Of The Phoenix (1977) is Sondra Marshak and Myrna Culbreath's first published Star Trek novel and... it's quite the experience.  Yes yes, it's not actually in the Pocket Series (it was published under Bantam) but the other two books in the series are and I've already read those!  So this is where it all began...eh?

Actually it didn't all begin here.

The first version of The Price of the Phoenix (and The Fate of the Phoenix) was Never Mourn Black Omne which was privately published and printed prior to reaching an agreement with Paramount and Bantam Books, and is extremely limited edition; it is unknown how widely this book was circulated.  I haven't read it myself (I think it would probably have to be a lucky ebay find!) but from an excerpt found on fanlore.org it seems fairly similar.

The thing is with Marshak and Culbreath is that the more I read their novels, the more I know them as people.  They're writing 'Star Trek' novels, sure, but they end up revealing more about themselves than actually reflecting the characters or the Star Trek universe.  I suppose that actually, quite a few of the earlier Star Trek books have this quality, it gives them a soul which is sorely lacking in some of the more recent releases.  Saying that however, I could probably have done with a bit less 'soul' in The Price of the Phoenix.  As I've mentioned before, Marshak and Culbreath were not stupid, in fact by all accounts they seem to be incredibly bright.  Culbreath founded her own private academy before selling it and moving down to live with Marshak and her husband.  Marshak earned a Masters degree in history with honours, she was planning a PhD and wanted to write 'culture changing non-fiction' and then... she discovered Star Trek and gave it all up to devote herself to the show and writing fanfiction.  Marshak (from the age of 13) was an avowed Objectivist (Ayn Rand) and believed that Star Trek advanced Objectivist ideals.

The idea of Star Trek advancing Objectivism is quite strange, since objectivism at it's core is right-wing / capitalist; which in many ways Star Trek is not (although I'd argue that even as a post scarcity society, it's not actually socialist at all.. anyway).  I tried to do a little bit of research on objectivism in order to try to apply it to Price but the work I was willing to do just acting on a hunch wasn't really enough to get anywhere particularly entertaining.  Superficially however, without going into the nitty gritty of Rand's philosophy there are some ideas which can be identified as objectivist in the broadest sense.

Anyway, attempting to cut the rambling about pseudo academia short, the most obvious objectivist idea in Price is

the belief that certain things, especially moral truths, exist independently of human knowledge or perception of them. 

and that

"...(Objectivism), in essence, is the concept of man as a heroic being, with his own happiness as the moral purpose of his life, with productive achievement as his noblest activity, and reason as his only absolute." - Ayn Rand, Appendix to Atlas Shrugged

The concept of the heroic being, is central to the narrative of Price, and actually all their novels I've read so far.  The heroic being is invariably Kirk who is basically a cinnamon roll too pure for this world characterised as being Adonis but with the tactical ability of Alexander.  The moral truths are also exemplified by Kirk, who is unaware of his virtue or power although every person who meets him recognises these truths in him.  Kirk is unique because his own happiness -being the captain of the Enterprise- is his moral purpose but also serves a greater purpose which exists dependently of his own will - independent of his knowledge or perception.

Kirk's purity of purpose is what drives... perhaps it's better to say 'causes' the plot.  Omne is attracted to him as a light to his darkness, as a contrasting figure who reminds him of who he was many, many years ago.  The events that take place are not incidental, it's all planned by Omne in order to take possession of Kirk body and mind; this is central, all other plots and machinations are red herrings.

Like The Entropy Effect which would be noted for the fact it kills Kirk outright in a slashy death scene, Price (which of course is the earlier work) also starts with Kirk's death and Spock's emotional response.  We're told it truly is Kirk who has died, no doubt in McCoy's mind.  Spock saw Kirk die...   of course he didn't.  A clone of Kirk was substituted for the 'real' one as he was transported away by Omne.  We're introduced to another clone Kirk who takes the name 'James' while the original uses 'Jim'.  The Romulan commander gets rather fond of 'James', though we're told that she probably got together with 'Jim' when she was being transported on the Enterprise previously.  Spock turns into a testosterone filled (or whatever the Vulcan equivalent is) super Vulcan, not quite VULCAN COMMAND MODE, but close.  All the incidents which lead up to the 'main event(s)' aren't really important, the're just a clumsy method for getting to Marshak and Culbreath's kinks (which I'll get to in a bit).  There's a chase through an under ground labyrinth, lots of sexual imagery, med bay in a bottle (spraycan), nudity, manly 'vulcanoid' fighting... and for once both the clone and the original Kirk survive!  The Romulan commander gets 'James' and Spock gets 'Jim', and everyone lives happily ever after... but they know one day Omne will return... (oh no...)

A more sensible summary of The Price Of The Phoenix on Memory Beta.

I'm not going to waste time summarising this novel seriously, there's no point since it can be found elsewhere.  I am going waste time looking at the appalling descriptions, hyper sexual imagery, and general kinkiness.  I'm also going to repeatedly wonder how this got published.

So, I'm going to start with picking out a wonderful (?) example of the redundant descriptions which litter this hot mess, because everyone needs to suffer this with me.  At least I suppose they improved over time and sentences like -

"So," he said with the deceptive mildness which let the deception show through, "that makes it interesting."

- become less commonplace, but Price is full of them.  When I read a section to my partner, he had to stop me every so often to reread sentences.  Sure, you can work out what they are trying to say, but the descriptions are kinda what you'd expect from a fifteen year old dabbling in fanfiction for the first time; more often than not a horny fifteen year old at that.  Language is very clumsy and at times repetitive -

Kirk felt an odd jolt on some level he couldn't even name. Or-wouldn't.  Perhaps somewhere on the level of what he was refusing to name, even to himself.  Let it be blunt, brute fact.

 But this -

Clumsy, repetitive, badly edited.

Not to mention this particular section follows Omne telling Kirk he didn't want him in the line of fire.  Oh dear.  The big scary vulcanoid wanted to protect the weak pretty earth man, so he carried him off to his secret lair, ministered to his wounds forcefully and erotically.  You know, this is all very familiar; I seem to recall similar events occurring in two other novels by this deplorable duo, and I have little doubt that the next Phoenix book has rather the same kink in it.  I wouldn't be surprised if Omne erotically beats up Kirk again, Jim or James! Spock will go super angry Vulcan, then they kiss and make up, right?

Speaking of erotic.

I really could dedicate this review(?) to erotic imagery in Price but I'd be even more delayed in  publishing this than I already am.  There are two particular scenes / images that stand out to me.  One has already been mentioned, and that's the scene where Omne smashes Jim (the original) into a bloody, broken pulp while James (the copy) and the Romulan commander watch.  I don't even have to go into that James starts to feel the pain of Jim, and then this transmits to Spock.  The one-sided pounding fight between Jim and Omne is pretty much a H/C / sadistic exercise in homo-erotic voyeurism.  I mean, there is no way for Kirk to prevail, Omne is bigger, stronger, more intelligent, described as 'alpha male', king of the jungle following jungle laws (that extended metaphor is the cringiest cringe).

Serious cringe.

Oh gosh, I haven't even mentioned the strange virginity / loss of virginity / rape sections have I?  The clone Kirk is dressed in a white tunic (obviously because he's pure), but feels all the pain of the original (messiah comparison?).  In one section he slides down a pole (the main transportation through the underground labyrinth), but he has no trousers on so his thighs an nethers are scalded to bloody rawness by the friction from the pole.  So, after that he's basically walking around in a white tunic, bleeding between the legs... mmph.  How did that get past the editor too?  The original Kirk also feels these injuries... I'm surprised they didn't go further and describe him sharing that particular violation, or would that make it too obvious?

Anyway.

Let's just skip to the end.  The Price of the Phoenix is an awful book in any context and really just reinforces what I already knew about these two authors.  I don't understand how they were able to return again and again to rehash this same story with the same kinks in again and again.  The very worst of it is this obsession with emasculating Kirk repeatedly.  Yes, Kirk does have a soft side which is at times so gentle, but these two seem almost unable to actually write MxM stuff without making one of the characters a surrogate female.  You see this a lot in fiction involving gay men which is written for women.  One of the characters is always the female stand in, and in this case it's Kirk.

You know, I can't even say they 'know' the series well, because as far as characterisation goes, I don't believe they do.  It feels like they've developed Kirk, Spock and the others into other characters and not the characters they are meant to be.  I could say they they might as well be writing a series with all original characters but then it wouldn't stand out as having a prevailing sense of all round wrongness.

The Price of the Phoenix only stands out and is worth talking about because of how wrong it all is there is literally no merit in it.  By all means read it out of curiosity, read it because its kinda historical and because it costs a couple of pence to buy... but I wouldn't recommend it to anyone except those with an interest in early published slash / mxm stuff.

1/5 - bloody thighs, guys.

Star Trek - Dwellers in the Crucible

Some small part of her mind marvelled at the words that came out of her mouth.  She who had been known for the quality of her silences was transformed by her own rootlessness and her need to save one other.

Kaiidth! She would bargain with the Klingon and she would win, though the winning kill her.  The crucible of the t'hy'la could also immolate. 

Dwellers in the Crucible (#25 Pocket, Giant #2 Titan) (1985) by Margaret Wander Bonanno is very much the spiritual successor of its two cited inspirations The Final Reflection by John M Ford, and My Enemy, My Ally by Diane Duane.  Not only does Bonanno use the concepts of the Klingon and Rihannsu (Romulan) empires explored in Ford and Duane's respective novels, but she also minimises the impact of the Enterprise crew and characters, instead telling a story where the cast we know are incidental and two original characters take the fore.

I have to admit, I initially skipped over this one because I thought it wouldn't be an easy read, especially if it did follow in the footsteps of The Final Reflection and My Enemy, My Ally.  Truth be told, I was right, however the two mentioned instalments turned out to be fantastic, so what was I worried about? 

Margaret Wander Bonanno was already a professionally published author having penned three novels previous to Dwellers in the Crucible.  She is a talented writer and her previous experience in world crafting and character development is clear from the outset of Dwellers and her previous independence leads her to create an adventure within the Star Trek universe, using lore from other successful authors, but outside of the usual tinted lens of the Enterprise and her crew.

However, however, although Dwellers in the Crucible has the pedigree: good material, talented writer, good characters, it doesn't have the illusive something, that little bit of stardust which would elevate it into something (in my opinion) great.

Have you ever read The Remains of the Day by Kazuo Ishiguro?  There's a film of it too starring Anthony Hopkins and Emma Thompson.  It's a very clever book; cleverly written, a sad character analysis with a sad, hopeless ending.  It's a prize winner, a literary masterpiece - it is also one of the most dull, unrewarding, uninspiring books I have ever read.  It's a lesson in drudgery, of patience and dogged determination, AND frankly if a reader manages to get through it on their own steam they should reward themselves (a slice of cake will do) because you get not a jot from the book.  The film isn't much better, brilliant but good grief I shall not watch that exercise in dreary fatalism again!

Why have I told you about The Remains of the Day?  Well.. Dwellers in the Crucible elicits the same feelings from me.  I love the fact Bonanno knows how to write, I love that it's a 'quality' book, I like it's cleverness, it's structural peculiarities, I like the different focus.  I also think it is rather unrewarding and often painfully dull.  I can't truthfully call it bad (it simply isn't), but I also can't say I enjoyed it (because I didn't).  I'm glad I read Dwellers but on the other hand I had to force myself to pick it back up; the experience can probably be summed up as all stick and no carrot.

The Story

Dwellers in the Crucible is a story of captivity, friendship and survival of powerless civilians.  It's not a pleasure to read; it is heavy going and often hard to continue.  It contains torture, sadism, murder and suicide, but also loyalty, self sacrifice, compassion and love.

The Federation has adopted an initiative based on an ancient Vulcan practice - The Warrantors of Peace - an important person or people to the current world leaders are held hostage with a capsule embedded in their hearts which will detonate if removed or if the planet commits an act of war/violence on another.  The concept boils down to the threat mutually assured destruction should one planet commit an act of violence toward another (an agreeable cold war?).

The Romulans and Klingons in their uneasy alliance, formulate a plan to kidnap a number of Warrantors in order to destabilise the peace of the Federation.  Once the Romulans kidnap the Warrantors they are passed into the hands of the Klingons (frankly a terrible idea on the part of the Romulans) who amuse themselves by torturing their civilian charges whom they have under their control for about six months.

Meanwhile the Enterprise is on 'standby'.  Sulu is dressed up as a Romulan and sent undercover in the Empire (which we barely hear about), Scotty gathers information from the Klingons, and Uhura sets about sowing incorrect information for the Romulan listeners to decipher.  Kirk... well Admiral Kirk is getting rather agitated about the whole thing, while Spock keeps him company?

Eventually the remaining Warrantors are saved, and Kirk and Spock see a reflection of themselves in the two women.  The Federation finally decides this whole 'Warrantors of Peace' concept was a terrible, terrible idea and is in the process of scrapping the whole program by the end of the book.

The overarching story isn't at all well developed.  Some reviewers have had a problem with the 'Warrantors of Peace', however the Federation is capable of doing remarkably stupid things so I can give it a pass... plus the Vulcans suggested it so I can conceivably imagine the Federation diplomats and higher ups agreeing it was a good idea.  Other problems include the under developed Sulu mission which could have been a book all by itself, Admiral Nogura's strange decisions about what Kirk should or shouldn't be doing, and the fact that the Enterprise is left idling for six months.  I imagine Kirk was climbing the walls!  However, Dwellers in the Crucible is not concerned with 'the big picture', but with the relationships between the Warrantors, and the Warrantors and their captors.

The Crucible(s)

The term crucible in the title applies to different aspects of the story, but is most strongly summed up in the following quote:

The Vulcan friendship mode is a crucible.  There is that in it which can purify, refine, strengthen.  There is also that which can immolate, destroy.

Just remove the reference to 'the Vulcan friendship mode' (I really hate the 'mode' terminology since Vulcan Command Mode) and replace it with 'love'.  Love is the crucible.  Poignantly this novel is set between TMP and TWOK, and in TMP love is the word which is never mentioned except in euphemism.  In Dwellers, love of the same flavour as Kirk and Spock's is explored - t'hy'la - through the guise of two women, Cleante al-Faisal - a human female, and T'Shael - a Vulcan female. 

However, love isn't the only crucible in Dwellers, although it is the most poetic.  There are several events which act as crucibles, some are in the novel's 'present' others in the characters' pasts.  The shared pasts of Cleante and T'Shael (which is a significant portion of the book) highlights moments of change which would eventually lead them to the realisation of their status of t'hy'la.  Some of the moments of dramatic, others are moments of understanding for one, or both of them.

I think the most obvious 'crucible' is their prison on the abandoned planetoid - certainly a place which can purify, refine, strengthen or immolate and destroy.  The situation as engineered by the Klingons (or specifically Kalor) causes the deaths of the three Deltans.  The Deltans lived for love both physical and mental however in the crucible that love destroyed them.  On the other hand, the pressure felt by Cleante and T'Shael to save the other caused both of them to be forged into something better both as individuals and as a unit.

Cleante & T'Shael

Cleante and T'Shael are Kirk and Spock's stand ins respectively.

What makes it quite interesting however is that Cleante and T'Shael are civilians and come from very different backgrounds to Kirk and Spock.  I think it would be interesting to speculate what changes there would be to this story if they weren't civilians or if it was Kirk and Spock in this same situation... No doubt there there is a fanfiction on this subject somewhere.

I can't talk too much about the characters without giving away too much of their story.  However Cleante is very much an impulsive, young, human woman with altogether too much pride; T'Shael is a reticent, reserved young fully Vulcan woman who is humble and 'known for the quality of her silences'.  Both women come from less than ideal families, Cleante's mother never affectionate and work driven while T'Shael's parents are dead - her uncaring mother died on the Intrepid while her father died of an incurable wasting disease.  However, both women are incredibly lonely and this loneliness brings them together despite their difference.  I think this is also what is brings Kirk and Spock together initially, command is a lonely place.

I think it interesting that although Cleante and T'Shael are the analogues of Kirk and Spock, that they are not copies.  T'Shael is humble however Spock has great pride (as I think most Vulcans do), while Cleante is prideful while Kirk will lower himself for the greater good.  These differences in both relationships evaporate however when they are truly 'bonded' and when the other is in danger both pairs gain the capacity for great self sacrifice.

I think perhaps most women will find something of themselves in either or both Cleante and T'Shael, perhaps that's what made their situation (their captivity and torture) so horrible to read about.  It's much easier to read about the appalling treatment of a male hero character; it's not so close to home and you know that the hero character is trained for this and they can handle it.  In Cleante and T'Shael's situation you don't have any of that reassurance, you're wondering when they are going to break.  I think it's most galling because you can't even put your trust in Vulcan fortitude, you're wondering when T'Shael will break too, not just the highly strung human.

Ford's Klingons and Duane's Romulans

To me it seems odd to set out to use existing lore by other novel writers and then use so little of it that it almost seems wasteful to have considered it in the first place.  Although there are nods to Ford and Duane's ideas, the Klingons and the Romulans remain more Bonanno's creations that the other writers.

Ford's Klingons were sly gamemasters, and if a Klingon should rise through the ranks from a lowly background you'd expect them to be intelligent - not so apparently.  Krazz is one of the more stupid villains despite his rise to a position of power.  Ford spent much of his novel The Final Reflection giving a different reading of the Klingons, trying to find common ground that perhaps even Kirk could in some way empathise with.  However Krazz and Kalor (Krazz's second in command) are simply exactly like you expect a Klingon to be - and to be honest, if I were Kirk the actions of Krazz and Kalor would have closed me down to any possible positive feelings towards the Klingon species.  Kalor is the worst of the two, a cruel sadist who engineers the deaths of the three Deltans under the premise of science.  Lets face it, if he was a 'scientist' doing experiments on rabbits and enjoying causing them suffering, you wouldn't want to know him right?  Ok, well now apply that to three Deltans, one of which is a child.  No Bonanno, he can't have my sympathy now that he's found he has a soft side now that he's coerced Cleante into sex in order to save her friend from his sadistic experiments.  Nor am I going to listen to Cleante when she starts sympathising with him as her mind is breaking.  His 'redemption' came too late in the game, I think he's a poor representation of Ford's Klingons.

Duane's Romulans / Rihannsu are represented a little better perhaps, but this may be because we don't see them half as much.  Bonanno seems to have used some key points from Duane's Romulan development like the term Rihannsu, and the imagery associated with the Praetor / Empire.  Much of what could have been included regarding the Romulans (and perhaps there was more in the first draft) would have been Sulu's adventure undercover in the Romulan Empire,  but since this is barely touched once introduced (and consequently the results of the investigation is only a confirmation of what they already know - they would have gone to the same place without confirmation anyway), so it isn't really important in the long run.  I found it interesting that one of the main plot points to Duane's story My Enemy, My Ally is that the female Romulan/Rihannsu Commander whom Spock tricks in order to get the cloaking device is disgraced and sent into exile,  however in Bonanno's iteration she still has the favour of the Praetor - surely this is a major change to Rihannsu thought?

All in all, I don't think Bonanno uses enough Ford and Duane's ideas to have really warranted her giving them credit at the beginning, although... there is mild influence.  I don't think the representation of either species is bad though, don't get me wrong.

Kirk, Spock, McCoy, Uhura, Sulu, Scotty

Odd.  Just Odd.

I don't know whether it's because Bonanno is doing her best to keep them out of the limelight, but the established characters are often a little 'off'.  Out of all of them, I'd say that Scotty and Uhura have the most true to form characterisation.  Uhura certainly feels like she's presented similarly as in other novels (although some of her dialogue with Spock is a little saccharine), while I could vividly see Scotty on his mission in my minds eye - shame it was so short.

Sulu was... out the way for much of the novel, doing something simultaneously important and unimportant, which ultimately didn't lead anywhere.  It was kind of annoying really as for once I wanted to know what Sulu was actually doing (my dislike for Takei unfortunately bleeds into my feelings for Sulu) as his mission was the most dynamic of the lot.

Kirk, Spock and McCoy only really get going in the final section of the novel when we're beaten with the t'hyla stick - but frankly if you hadn't got that Bonanno has made a parallel couple out of Cleante and T'Shael in order to investigate the depths of the concept of T'hy'la whilst circumventing the radars of certain audiences then perhaps you deserve it.

No need to open her eyes this time.  What little strength she had left she raised one hand.  It was gently embraced by two human hands, and T'Shael's pain receded in the emanation of love from those hands.

Did she dare smile? If death were to claim her before she could let Cleante know the depth of her gratitude, her yes - call it love - even in the presence of strangers -

For the first time in her life, T'Shael smiled.

"I'm here," was all Cleante said, and it was all that was needed.

Jim Kirk looked at Spock, who acknowledged the scene in silence before setting the controls (...). 

Sound familiar by any chance?  It's pretty much a verbatim rendition of Spock and Kirk's scene in TMP.  This book is also set between TMP and TWOK... Whodathunk.

McCoy knows everything, and even when Kirk is being dense he makes sure to hit him with the t'hy'la hammer:

"(...): whatever happens to her depends in large part on Cleante.  And vice versa."

Kirk gave him a puzzled look.

"Explain." 

 "Oh, come on Jim!  You've seen it as well as I have, and so has Spock.  These two are forged together for life.  They're almost a mirror image of you and Spock, both of them falling over each other in self sacrifice.  There's an old phrase in Latin - amicus usque ad aras. 'A friend in spite of all differences; a friend to the last extremity.'  There's even a Vulcan word for it, isn't there Spock?"

"The word, Doctor is t'hy'la," Spock murmured, ignoring McCoy's obtuseness.

There is also a section where McCoy leads Cleante away and sees the same look of devotion in her face as he had seen so many times in Jim Kirk's.  McCoy's role here is very much to draw attention to the parallel couples and I guess his character development / exposition is the depth of his understanding of his two closest friends.

So regarding Kirk and Spock... sure they have only a small part to play in this novel ultimately, but despite this the novel is about them or at least their relationship.  Nobody really cares about a couple of one off characters who disappear into the ether at the end of a novel, not really - what do they change ultimately?  Well nothing at all except perhaps our understanding of the term t'hy'la and the personal transformations which take place in a relationship of that depth.

While thinking about Dwellers and the concept of the 'crucible' and forging an unbreakable bond, I thought... when was the point that where at least one of them realised he was bound to the other?  When was Kirk and Spock's 'crucible' moment?  I thought about it for a while, but certainly Spock's 'moment' had to be Amok Time; I think that would be the time he realised he was bound to this human for life (that smile when he realises that Kirk is still alive...).  What about Kirk?  Well... like Cleante I think Kirk innately knew and recognised the other part of his soul, perhaps he didn't think about it in poetic terms until later, but from Kirk's reactions and the way he looks at Spock from the beginning (aided by Shatner's phenomenal acting), I think he knew all along.

So yes ultimately Dwellers in the Crucible is a very good, well thought out character study.  A little bit subversive, a lotta bit clever - I would recommend reading it for the questions it asks and for the thoughts it provokes.  However it is not an enjoyable book, I didn't take a lot of pleasure in reading it and it was at times a chore to read which is not a feeling I like.  I did feel like I was forcing myself to turn the pages, so this leaves me in a strange position.

I didn't like the book, but I liked the points it made and the questions it evoked... which is why I'm going to give it 3/5!

Star Trek - Corona

Kirk was eternally fascinated by the procedures for making the Enterprise ship-shape for a long voyage.  He was familiar with every action as a man watching his wife dress in the morning, and yet... it had that same sort of fascination, of responsibility mixed with a perverse and impossible kind of ownership.  No individual could own a star ship, any more than a man could actually own his wife.  Still, the Enterprise was his.  He wondered what the day would be like when he had to give her up, and whether, if any of his Starfleet colleagues assumed her command, they could possibly remain friends.

Corona by Greg Bear (#15 Pocket, #24 Titan) (1984) is a really interesting instalment in the Pocket novel series for a couple of reasons.  Firstly, we're seeing the theme of entropy again, and this is really exciting for me because I'm finally seeing what I expected to see in the novels that is patterns and trends in themes and content of the novels.  Secondly, for the first time I'm seeing direct references to Gene Roddenberry's 1979 TMP novel and in Greg Bear's case, he has borrowed (to a certain extent) the writing style, characterisation of Kirk, and taking relationship cues from it too.  I was most surprised at the relationship inferences because I didn't expect them from a male author.  Finally, it's interesting because its time line is incredibly kooky which makes it a little confusing as to when exactly the novel takes place - I'm going to run with any time.  I can only imagine that the majority of the story was cooking for a long time (pre-films) and so there's some artistic license in there too.

Greg Bear himself is still an active author and although Corona was his first and only Star Trek novel, he is still active in the community.  Bear writes a wide selection of fiction, including tie-in novels for the Halo universe.

Find more about the author at his site www.gregbear.com and on his page on imdb.

Corona itself is, for me at least, a 'so-so' novel.  Whilst I was reading it I would visualise a big 3/5 stamped across the cover.

Read a brief summary of Corona here (memory beta).

There are lots of problems with it for example the time line is pretty much as kooky as you can get.  The novel listing I often refer to lists Corona as taking place in 2270, which is just after the original series.  Keep in mind that TMP occurs in 2273, got it?  Ok, there's this funny 'dating' (not that kind) paragraph:

Spock sat stolidly on his immaculate stone meditation plank, eyes closed, deep in mathematical exercises he had taken up lately, conditional to his entry into the third stage of Vulcan life at age seventy-nine.

Hold up!  Seventy-nine?!  Spock was born in 2230 and if this is 2270...  That makes him forty, surely?  Much of the narrative implies that it is within the scope of the five year mission, but why age Spock this way?  Is Kirk supposed to be older too?  And where does this leave poor Amanda and her age, and Sarek for that matter?  Anyway, I think it's safe to assume that it is 2270 and not later because the rest of the crew are present and in their same positions - even Yeoman Rand is there!

Bear has an odd take on Vulcans at times too, strange little rituals and ticks.  The story very hinges on the Vulcan 'otherness', but in making them a little too 'other' or 'strange' they kind of feel a little odd to me.  I can't pin it down well, but it's like seeing through a glass darkly.  I can accept a certain amount of artistic licence but sometimes there's some strange 'insight' from these authors, possibly because it is before much of the 'official' details of the Vulcan species had been finalised.  It was interesting however to have Vulcan children play a role as we don't often see Vulcan children portrayed (there's little reason to).  I guess they are essentially little adults, ignoring of course the brats who bully Spock in the AU (who frankly just act like bully children, not something 'other' as I imagine Vulcan children to be).  The resolution of Corona hinges on the fact that the child Vulcans haven't gone through a ritual to make them adults, and although this does happen canonically I don't think it is supposed to be an event which comes from without, but instead it's the completion of a trial which marks them as adults.  This kind of ties into a loose theme of 'coming of age' but it doesn't really dwell on this too much and appear somewhat accidental (even if this links into 'Mason's' story line.

Anyway, none of that is really that interesting, I just needed to get some of those thoughts out the way.

The first thing that I really noticed while reading Corona was that it is the first novel that has really drawn from Roddenberry's TMP novelisation.  The characterisation of Kirk, his somewhat uncomfortable phrasing and too-long idling over sexual thoughts - they are all there in Corona.  References to the telepathic connection between Kirk and Spock are in there too - and certainly their closeness.  Furthermore, I think that this is the first instance of the brain implant being referenced, which also makes its first appearance in the TMP novel.  I am surprised that it has taken this long for these features to make their appearance in the novel series thus far, or at least a real indication that writers have read the first book in the Pocket Book series (the TMP novelisation).  Ok, perhaps I'm deliberately ignoring Marshak and Culbreath because of their blatant agenda and kinks, their two additions to the series (Triangle and Chains of Prometheus).  I really like that it's a man picking up on these aspect too, quietly adding in the telepathic link between Kirk and Spock that kind of rumbles in the back ground of their relationship.

Of course, it does fit in with the story with Kirk should have the implant as mentioned in the TMP novelisation.  Much of the novel is given over to 'the monitors', a computer system installed at the beginning of the story, with the capacity and authority to override commands / requests of personnel on board the Enterprise.  They are meant to prevent for example, captains from making bad decisions, if the monitors disagree with the captain's decisions then they will override the captain and take action without anyone else's say-so.  There are also monitors for sick bay too, much to McCoy's chagrin.

Does anyone else find this uncomfortable?  I certainly do!

Kirk doesn't care for it much either, but with little choice given to him he has to play by the rules.  He ends up with an additional monitor as well, in the form of a young woman reporter.  I was actually really happy to see this story line used, because this is the first instance of the 'reporter / monitor' character and really the first time we see this kind of... conflict within Starfleet where they are trying to tighten control of their fleet and personnel.  Bureaucracy of course is seen in the original series, but certainly in TMP we know there are problems on earth and Starfleet is under pressure from 'New Human' groups.  A later novel that I have reviewed with a similar theme of Kirk having a monitor is The Starship Trap.  Ultimately, the female monitor in both novels ends up being a boon to Kirk, but interestingly there is no romance involving Kirk in either of them.  The 'monitor' storyline is tied up by them being judged not fit for purpose, with the moral that commanders (and medical officers etc.) should be able to act as they see fit in the circumstances, without any computer intervention.

Interestingly, the monitors do take control away from Kirk in the end, because he chooses to hold fire.  He felt conflicted about firing on the station and thus possibly killing Spock and Mason in the process.  The monitors fired on the station because Kirk didn't want to act, because he was 'too concerned', and that possibly he didn't act because he knew the monitors would take the weight off his shoulders and make the decision for him.  In a way this is a challenge, would the imposition of these monitors stop people growing?  Stop them from being the best humanity has to offer?  Additionally, Kirk's humanity and respect for life makes him who he is, his judgement not to fire, his empathy being over-ridden by an algorithm... would a captain ever be truly followed when the crew knows their judgement is going to be constantly judged and changed by an algorithm on a computer?

Just a thought.

Finally, I was really interested to see the theme of entropy appearing again.  It certainly seems to be the strongest / most common theme so far, especially since the last use of it was in The Wounded Sky, the last book but one, the first was The Entropy Effect.  All three stories have dealt with the theme a different way however.  The Entropy Effect was caused by the actions of a man and has to do with time travel, The Wounded Sky again is to do with the actions of scientists but concludes with the meeting of a new, God-like, life form.  Corona handles it differently again, a non-corporeal life form wishes to accelerate entropy in order for it to cause the end of  our universe and the rebirth of the environment needed for it and its species to exist (essentially the big bang).  Funnily enough, it also has to use technology to achieve its goals, which it achieves through using the Vulcans as its arms and legs and the frozen 'sleepers' as memory storage units.

The 'action' of the story is a little bit messy and at times the author seems to forget which crew members are present (poor Chapel!) and whether they are capable of critical thinking at all.  The story itself feels like it was written some time before publication, perhaps even before TMP but was revised afterwards to add in extra bits of lore.  Unfortunately it doesn't seem to have been edited enough to make the old and the new mesh and the story can be somewhat bitty as a result and unfortunately at times, pretty contrived.  However, on a whole its passable, and it is obvious by Bear's success that he improved greatly in subsequent books to working on other popular sci-fi franchises and series of his own design.

For the modern reader, the story feels quite tired.  I think in particular using the trope of 'possessed children' but then not really building on that as something scary was a bit of a let down.  Perhaps that was somewhat endemic in the whole book, things were kind of introduced but the ideas weren't really developed, almost like the author didn't know quite where he wanted the ideas to go.  The idea of the monitors was built on, but when it came down to the execution of their orders over Kirk's it was a little... anticlimactic.  Mason's xenophobia never really peaks, and her character development just doesn't seem that compelling.  That being said, on the subject of characterisation, I did enjoy the Roddenberryish portrayal of Kirk's character, Spock's wry moments and McCoy's humourous, cantankerous nature.  I think Bear was a little weak on the development of the female characters though - Chapel's description as 'spinsterish' was particularly harsh!

3/5 - take a cold shower Kirk!

Star Trek - The Prometheus Design

He awoke strapped down, metal biting into his wrists, ankles.  Dispassionate alien probed him at him.  He was face down.  For a long moment he could see nothing.  Then he managed to turn his head and saw Spock, strapped on another table beside him, conscious of everything being done to or prepared for either of them.

Kinky.  I've totally read this in a gay erotic novel.  That was lacking in story too.

In my time honoured tradition of reading books out of sequence, I turned to The Prometheus Design (#5 Pocket, #35 Titan) (1982) by Sondra Marshak and Myrna Culbreath to avoid reading the second part of the 50th Anniversary Trilogy (I'm struggling to be interested after the first volume...).

Last month I read and reviewed Triangle by Marshak and Culbreath, it failed to impress from a literary perspective, although it is interesting from the perspective of being incredibly slashy and written by those women who are arguably considered the mothers of all slash.  It was incredibly dramatic, it often crossed the line in regards to homosexual subtext, and definitely crossed my line as far as hurt/comfort and Kirk abuse goes.  I did expect much of the same from The Prometheus Design but I was pleasantly surprised, which makes me wonder what on earth they were the playing at with Triangle?

Before I go into The Prometheus Design proper, I have a few musings I hope you'll humour me with.  Firstly, from most of the accounts I can readily find on Sondra Marshak she was a clever woman, and very driven in her... I don't know, obsession with certain aspects of Star Trek.  Most noticeably her interest in developing Vulcan lore (I'm going to assume the Vulcan supremacy obsession is primarily Marshak's contribution) and of course the Kirk/Spock relationship.  I can certainly see her cleverness in her work, there are good ideas certainly but they are not fully formed and often quite confused.  Something I have found in both Triangle and The Prometheus Design is an inability to really focus and refine ideas or, in fact explain them fully.  Of course, I'm not going to discount Culbreath's involvement, I don't know how they worked, and she is also demonstrably an intelligent woman but I can't shake the feeling that it's Marshak's touch that makes their combined work recognisable.  I would like to read something solely from Culbreath just to test my feelings here.

I guess what I'm trying to say is, although I've found much in the way of reports of Marshak's brilliance, I don't really see it - at least not in the two novels I have read.  The Prometheus Design is significantly better than Triangle but it is still very flawed.  The ideas and themes are muddled, as if half understood sometimes simple aspects of the story deliberately obfuscated to project a false intellectualism.  Certainly, I believe Marshak and Culbreath to have embraced a pseudo intellectualism, and in Marshak's case it appears to have been what impressed people within the early fandom.   I would be different if I believed that what was written they themselves understood the implications of what they were asserting, but I really don't believe it to be the case.

Another aspect to Marshak and Culbreath's work is that they heavily reference their novels.  For example they cite many episodes in The Prometheus Design that back up their assertions, however they also cite a number of previously written books / fictions including their own two previous novels published under a different publisher.  This does strike me as a little odd, especially as what they are building on somewhat stretches characterisation of Kirk and especially Spock to extremes.  This might be well and good for a one off novel, but to extend that into an extended continuity?  I have problems with that.  In later novels, there are often references to earlier authors, but only references to good ideas or events that were possible NOT the development of super sadist Spock and masochist Kirk. 

So onto the review proper, yes? 

The book might be rubbish,
but don't they look dashing!

Initially, The Prometheus Design is fairly incomprehensible.  It has a prologue which introduces us to an alien perspective, but the scenes that they are commenting on come later in the book, so the prologue means very little to the first time reader (and why you'd want to read it again unless you were reviewing it is a mystery to me) and there are still sections which remain obscure even then!  The aliens are scientists, obviously conducting some kind of test and Kirk, McCoy, Spock and an unknown Vulcan are the test subjects.  There is talk of a double blind test which will make sense, eventually... although in my opinion it adds nothing to the story at all.

The Prometheus Design removes Kirk as the captain of the Enterprise and places Spock as captain.  Kirk is allowed to stay on as first officer, all this under the order of  a Vulcan who was a pioneer of space exploration, but has been missing for some ten years.  Why is Kirk removed?  Well, this Vulcan believes that he and his bridge crew may be compromised after they were all captured and experimented on by terrifying creatures, but, surprise surprise, Vulcans may be immune to the experiments/suggestions so Spock needs to be in charge.

A portion of the novel is the dedicated to Spock being, quite frankly, a monster.  A MONSTER.  A pointy eared cruel terror who appears to team up with the other Vulcan to undermine and degrade Kirk, not just from the perspective of his removal from command, but also in terms of his personality and species.  We know Spock isn't a commander, he's a genius, yes, but he is not fit for prolonged periods of command especially not when it comes to working with a human crew.  Marshak and Culbreath emphasise that this Spock is not the Spock from the series, he has been changed by gol (this book is set between the first and second films) and Kirk and Spock did not reignite their rapport in quite the same way yet. They have psychic connection however, which is stressed has weakened Kirk's own mental defenses- this point they use in their next book 'Triangle'.  I mean, despite him being as evil as he looks (...apparently, Marshak and Culbreath just love to remind everyone that somehow Vulcans look like the devil himself - he even has horns this time!) he still comes running when Kirk is in trouble (Kirk of course does the same for him).

One thing I couldn't quite decide is whether he was actually in on the other Vulcan's plan or affected by the experiments of the aliens?  I don't really know what would be worse.  The other Vulcan 'Savaj' (which I read as 'Savage') is pretty much a self confessed xenophobe, why Spock would consider Savaj logical from this skewed view I simply don't know.  Savaj's distrust of humanity negatively impacts the crew... oh right.  I almost forgot.

VULCAN COMMAND MODE.

VULCAN COMMAND MODE.

One more time!

VULCAN COMMAND MODE.

It doesn't get any better with repetition, does it (or different fonts).  It is where a Vulcan goes into a... state of mind which requires absolute obedience (there is a Japanese yaoi sex/dating game by that name by the way - translated into English, it's really terrible, just an FYI).  I really can't believe that Vulcans would have such a doctrine, how would it be logical to not question a commander in anyway?  To stop thinking and just obey?  This is used to explain Spock's strange behaviour... I found it made him like a puppet on Savaj's strings.

Okok... so I  know I'm bitching here, and picking at bits and pieces, but honestly my confused review only reflects the convoluted mess that is The Prometheus Design.  In short it's about breaking patterns of behaviour.  The super icky aliens you're initially introduced to as the 'experimenters' are redundant, as far as I can tell they and the double blind test serve no purpose what so ever aside from confuse matters.  They have no part in 'breaking the pattern' they're just... cruel and being directed to do these horrible things by greater powers.  The greater powers can see into the future and realise that their civilisation is heading to destruction, so they are experimenting on civilisations in our galaxy by a) speeding up cultural progression b) causing trauma and pain to certain individuals because... Marshak and Culbreath wanted to cause trauma to Spock and Kirk?  I don't know, I've got nothing.  It's nonsensical.  Anyway, it becomes clear as mud that they want proof that people can break patterns and make a new future.

Naturally our intrepid trio Spock, Kirk and Savaj... oh wait.  McCoy is there too for some reason, but isn't really used...  Our intrepid foursome find the awesome fortress of the... oh wait I totally read this in Triangle...  Um... OK!  They get caught and the fire woman 'Flame' (I kid you not) screws Kirk...  even though he's just a lab animal to her.

Right so... it's in this section we get exposition of this advanced species.  We get some anti-vivisection rhetoric, and Kirk volunteers to be their eternal lab animal if they could just leave the galaxy alone thank you very much.  Spock is annoyed and COMMANDS HIM not to sacrifice himself.  What follows is two different occasions of Kirk 'breaking his pattern of command' and thus showing the super beings that doom can be averted and the future they see isn't the only possible future.  Hooray, thank God that is over.

As a side note, the xenophobic Vulcan 'Savaj' decides that actually, Kirk is a bro and he's totally cool with humans now.

Right am I done yet?  It's taken me a week to summon the desire to write this terrible review (this isn't even a review to be honest) of a terrible book.

Frankly, it's a convoluted mess.  There are some good ideas there, buried in the mire of total horse poo.  I think I said earlier it was better than Triangle.

I lied.

I've changed my mind.

It's getting a 1/5.

I mean, I won't say don't under any circumstances read it, it is interesting to me from a perspective of seeing a fandom develop and the prevalence actually of the slash fandom / authors, but keep your expectations low and don't try to understand it - it isn't worth the headache.

I am going to say there are some good... paragraphs.  As well as some hilarious imagery like naked Kirk running over the top of the shoulders of confused aliens, freely swinging in the...

1/5 - VULCAN COMMAND MODE.

I'm sorry, past a point I couldn't take writing this review seriously anymore.

Forgive me?!

Star Trek The Motion Picture - Novel - Gene Roddenberry

I actually read this about six months ago, but I didn't want to write about it until I'd watched it again... and I didn't want to watch it again before I'd rewatched TOS.  So FINALLY I get to write about one of the most thoughtful and beautiful novels which just should be an essential counterpart to the film.

The Star Trek The Motion Picture novelisation is actually the only Star Trek novel Gene Roddenberry  wrote himself, which is both wonderful and sad - wonderful that we get to see his writing and ideas 'first hand' but sad because it is only the one novel, and he has a wonderful writing style.  One of the things I have read about Roddenberry is that he was a 'big picture' person - big ideas, but leaving the details to others - however this novelisation is all about the details.

My first introduction to the novel was actually via 'the Roddenberry footnote', which introduces the concept of th'yla - more on that later - of course I had to read the novel after reading just a footnote on it.  Following up the footnote subsequently caused me to read William Shatner's first biography Where No Man, which gives some insight to Roddenberry's thoughts going into the movie and the kind of influences on him at the time.  Incidentally the two women who wrote Shatner's biography (which takes the form of, in many parts, interview) are also the writers of a few Star Trek novels published through Pocket Books and I happen to be reading them at the moment.  They seem to stick very closely to the sentiments expressed by Roddenberry and Shatner as well as the details in the Star Trek The Motion Picture novelisation.

The reason I suggest that this novel should be an essential counterpart to the film is because there is a lot of explanation and expansion of scenes and characters.  For example, why are the characters in the transporter accident significant?  What happened to Kirk to change him from that charismatic leader to the dour, broken individual we see through most of the film?  What does Spock telepathically sense on Vulcan?  What were Spock's motivations for purging himself of emotions once and for all?  There's a whole host of questions left unanswered by the film that do have their answers in the book.

Now I'm not saying the film can't stand on its own per se,  it can, but reading the novel and watching the film (preferably the novel before the film) just makes the experience a helluva lot richer.  I feel that this novel is what novel adaptations of movies should be, not just a cash cow, not just rehashing the story scene by scene, but actually significantly adding to the understanding of the film.

It's significant that Roddenberry wrote this much expanded companion to the film.  It's significant new terms are introduced and it's significant that it overtly adds what the film couldn't due to trying to bypass the censors or because it was trying to appeal to a broad audience.

For your information, I consider this novel 100% canon.  If this can't be considered  canon, I don't know what can.

Before I dive headlong into my gasping appreciation of the Kirk/Spock relationship exposé, which frankly is the whole point of the film I'll point out a few things which make the film that much more comprehensible.

New Humans - knowing about the New Human movement goes a significant way into understanding just why Kirk is in the situation he is in.  You don't learn about this movement in the film, but you do in the book, and you also get an indication of the malleability of Human thought and importance of individuality in an increasingly homogenous society in the preface (written by none other than Kirk himself of course!!).  The implication is that Kirk was made an admiral and kept on Earth after the end of the five year mission as a figurehead representing the best of humanity and the pinnacle of individualism.  We get much description of how Starfleet and it's personnel are old fashioned and that the new and more advanced humans are moving towards almost a group consciousness and are wooed by greater intellects, something that we are told make them unsuitable for deep space exploration.  The New Humans are said to have been increasingly critical of Starfleet and Kirk was used as a pawn to secure support on earth.

McCoy left Starfleet in protest because they made Kirk an admiral despite his protests and his opinion that Kirk would not be suitable for the position:

'Upon learning that Admiral’s stars were to be offered to Kirk, McCoy had protested vehemently and had secured the backing of other prominent medical officers in the fight.'

McCoy resigned because his recommendations were ignored.  We don't know what happened in those last two years of the five year mission, but when Kirk got back, he wasn't the man we left at the end of the third season.  We also don't know what happened to make Spock leave (pfft), but we do know that Kirk couldn't process that at the time:

'Also, he had not really understood how deeply Spock’s abrupt departure for Vulcan had affected him. He had been depending on the Vulcan’s friendship and logic much more than he realized.'

 He (McCoy) knew his friend would be broken (and possibly was already broken) in his new position.  I have little doubt that McCoy realised Kirk was going to be used with little consideration to his mental health and as a doctor he couldn't stand by and watch it happen.

There are extra sections, extra insight from McCoy into Kirk's mental state in the book, and it is McCoy who redresses Kirk for his actions.  Their relationship needs time to heal, the slow speed in which it occurs however is a poignant indication of Kirk's broken state.

The novelisation adds significant observations from and about the rest of the crew which are not included in the film.  The original crew recognise that Kirk is different, that he's dangerous in his current state.  It's a testament to their belief and loyalty to him that they still follow him into the breach regardless, even when he has lost his charisma and charm.

We also learn about Lori, the woman who died during the teleporter malfunction.  Lori was Kirk's lover on earth in the first year after taking up his position in the admiralty.  She was sent to him by Admiral Nogura to 'heal and pleasure' him, which he accepted, however he knows that she was there to help control him on Earth.  He knows this, but is relatively unconcerned, he isn't vengeful he isn't angry, he just accepts it... he's completely dispassionate.  She was involved in Nogura's manipulation, which is made clear to him in scenes not in the film.

Of course, we also get a hell of a lot of insight into Spock's character, and into the relationship between him and Kirk.  In particular we get given the concept of T'hy'la and it's explanation in footnotes.  We also get told that T'hy'la is the term Spock attributes to Kirk - it means 'friend, brother, lover'.  I'm not going to go into an analysis of that now, that's a whole 'nother blog post, but we can safely say that at the end of the five year mission, something happened and Spock went running away to purge his 'shameful' emotions on Vulcan.  We get so much extra narrative about Spock's 'feelings' on Vulcan, we also get an explanation of what Spock 'hears'... He 'hears' Kirk thinking about him, calling out to him from Earth to Vulcan.  Spock fails to purge his emotions because of Kirk.

Spock refers to Kirk as his T'hy'la and all that implies, Kirk who lacks that word (presumably, otherwise I suppose he would have used it) he describes their relationship like this:

'But still it felt painful to be reminded so powerfully and unexpectedly of his friendship and affection for Spock - their had been the touching of two minds which the old poets of Spock's home planet had proclaimed superior to even the wild physical love which affected Vulcans every seventh year during pon farr.'

He lashes out at Spock when he is jilted, he wants to hurt him, but he also desperately needs him.  Even in this reduced capacity, once Spock is on the Enterprise again Kirk regains himself, and even Decker feels his respect towards Kirk increase.

Basically, if you want to learn about the inner workings of the characters, read this book, I'm barely touching on the additional content.

The novelisation has no qualms about the exposition of the two parallel  relationships of Decker/Ilia and Kirk/Spock.  None.  At. All.  The movie only thinly veils the comparison, the novelisation doesn't even bother.  And the overall theme of the movie?  That is basically sidestepped all the time (probably because of the two narratives) - love - you don't get to read that another way.  Love is referred to strangely in the movie / novelisation, have you noticed that Kirk calls even overt love 'friendship' - e.g. he calls Ilia and Decker's relationship 'friendship' and he hesitates and calls his relationship with Spock 'friendship' too.  I'm fairly sure that Kirk uses these terms interchangeably - much like the term 't'hy'la?  DAMN and I said I wouldn't get into this right now!

By the way, there are some extra parts to the um, 'sickbay scene' that make the whole thing completely 'un-misreadable'.  He is comforted, told that he didn't have to worry about 'shame', he 'clings' to Kirk, he feels 'needs'.

Q.E.D.  Roddenberry confirmed it right there.

The end of the novel plays out pretty much the same way as the film does.  There is an extra line at the end in which Spock banters with Kirk, indicating they are healed and that this is the start of more great adventures.

The novelisation is just... wonderful.  Wonderful companion, wonderful exposition, wonderful vindication.  Read it - I know I'm about to read it again!

5/5 - L.L.A.P

Star Trek - Fanzine - Private Possessions

Warning ahead of time, this gets a bit disjointed, with ideas and explanations, less of a review and more an idea for an article I guess?

I don't know why I do this to myself, you know?  I mean, there must be some part of me that takes inordinate amount of pleasure away from reading bad fanfiction, well bad fiction generally, but I swear if I read another description of Spock's jade nether regions I think I'll cry.

So yes, after my previous fanzine discovery regarding Della Van Hise and her slashy fanfiction alter ego Alexis Fagan Black, I decided to go searching for more of her 'wonderbad' works.  I was not disappointed (well perhaps my wallet was), Private Possessions sat there in the ether of the net AND it was available from a seller in the UK (my main objection to getting them is shipping costs from the US).  The fanzine was soon in my grubby little mits.

How Angsty!

Private Possessions is a 1986... I'll call it a fanzine but it's more a short (40k) novel credited to Alexis Fagan Black and published through Van Hise's 'Pon Farr Press'.  This makes it relatively contemporary with the release of Van Hise's novel 'Killing Time'.   Now I know I'm relatively young and late to the party, but I couldn't help but feel like I'd read this story before... that probably says more about me than I'd like to really admit, but for you, I'll reveal my deep dark secrets.

Before I continue, I'm going to give you a warning, one warning:

Private Possessions is slash fiction - if you don't like it or it offends you, don't read any further.

Still with me?  Excellent, onwards!

So, as I was saying, I couldn't help but feel like I'd read this story before.  I mean, I don't know when this particular story construct first appeared in fan consciousness, but it's one I have seen across multiple fandoms and most commonly within fiction written by women, for women containing male homosexual relationships.  If I was writing about Japanese fiction I'd call it YAOI, but I don't really think there is an equivalent term or word in the West.  I do struggle in calling this 'gay fiction' although a publisher would probably put it under a 'gay fiction' label.  The reason for this is because it isn't really fiction written for the gay community, the writer is ostensibly a heterosexual woman, the main readership, heterosexual women.  It's wish fulfillment, and if you read the text closely, you'll notice that despite apparently male appendages,  one of the characters is distinctly feminine and takes on a distinctly female role.

The premise of the story is thus:

Spock was captured whilst on what should have been a simple mission, apparently by slavers.  Kirk spends an inordinate amount of time looking for Spock in various slave auctions, for some reason he never goes in disguise.  Kirk finds Spock, who has seemingly had his memory completely wiped and is now essentially programmed to be a 'bed slave' (HA), no points if you can already guess where this is going.  On getting back to the Enterprise, shenanigans ensue and Spock attacks Kirk (no, not like that you dirty minded individuals - wait for it).  McCoy recommends that Kirk and Spock leave the Enterprise for some privacy in order to get Spock's memory back.

With me so far?  OK.  Kirk ends up pulling some strings and ends up with use of a secluded luxury mansion.  It's described as basically the height of opulence, marble floors, gilt everywhere, and infinity mirrors (why are there always infinity mirrors that never get used in the narrative?).  There are no servants or attendants, it's just Kirk and Spock alone... perfect right?...  I have seen this setting so many times in this kind of fanfiction, it isn't even funny, hell the fact I've seen it in published fiction is bad enough, it kind of gives me a 'Mills & Boon' vibe.

The narrative then continues on it's smutty predictable path, repeated misunderstandings, Spock trying to be the 'bed slave' he's been trained to be, the inevitable masturbation scene where Kirk realises he is attracted to Spock and then sees Spock jacking off, but convinces himself it's just the 'reprogramming' and 'this can't really be Spock'.  Kirk doesn't accept new Spock, Spock just wants to be loved and accepted, because even in this state he loves Kirk.

Horse riding through the mountains + emotional breakdown.

And finally, the drunk-date-not-quite-rape, it's-only-barely-consensual, rape-fantasy-fulfillment, please-make-it-stop, Spock-almost-drowned-Kirk-with-wine-and-tied-him-up.

Of course, the next morning all is forgiven because 'it had to happen this way'... because rape fantasy sex solves all problems, and only two days into a 2 month medical leave!  Spock is back to his usual self but Kirk a very happy underdog, wants to continue the relationship.

Yadda. Yadda.  It all works out in the end.

You might be getting the vibe that I really didn't like this, you'd be right.  I'm pretty easy going when it comes to certain things, less forgiving about others for sure, but there are quite a few things in this story which really bothers me.

For one thing, I can see why there was a lot of angst amongst the fans about slash fiction, the rights or wrongs of it etc.  As Van Hise/Black says in her little editorial at the beginning of the fanzine, she's glad of 'IDIC' - essentially often taken to mean 'to each his own' within the Trek Fandom (it actually means 'Infinite Diversity in Infinite Combinations').  I think this is inflammatory in itself, especially since she would have been aware of the arguments going on between fans in other zines on the subject of slash.  It's this kind of fiction that people point to as unacceptable; the characters are caricatures of themselves.  The only things which really makes Kirk in this story are that he is captain of the Enterprise, what he looks like, and a few vague mannerisms.  Even more distorted (and that's the point of the story I guess) is Spock, who is just a pair of pointy ears.  It's a strange objectification of two beloved characters, reducing them down to essentially porn lookalikes, right down to the reused set and storyline.

This is what people think of and object to when they object to slash fiction, and rightly too! IDIC can only take it so far, and when you are perverting the characters to this extent I don't think you can really defend it.  There isn't anything deep about this, there's no exposition, it's just cookie cutter smut - and it's not even well written.

I'm not going to even go into the quality of the writing, because, well, suffice to say it was eyerollingly poor.  She can write better than this, this is just... awful.

The other thing, the BIG other thing that really bothers me about this story type is the 'rape fantasy' aspect combined with the 'female substitute' character.  This is something you see almost exclusively in YAOI.  It's basically where although the characters are male in appearance, one of them takes the female role.  In YAOI it goes a little further, the 'female' character is often physically depicted as more feminine, they could have feminine mannerisms, have a less developed body, longer hair, that kind of thing.  In Private Possessions the female role is taken by Kirk, he's the caregiver, the one who needs to be 'taught', he's also less physically strong than Spock - this of course is canon, it's also the way the rape-not-rape is able to be carried out later.

The fact that Kirk is restricted by what he feels is morally correct also puts him in a position where he can't act - just as a woman can't initiate, he is also made impotent.  In this way Kirk/the woman is also absolved from any moral wrongdoing for example, if they end up liking the 'rape' even though they feel sexual relations with the other person is wrong.  If being physically weaker isn't enough, then add to the mix that 'Spock' threatens Kirk into drinking high strength alcohol, then physically forces him to drink it, and then ties him up.

...

Kirk tries to take the blame for it too, because, the rape-not-rape helped him to confront his feelings.  It had to happen that way.  It basically all works out and at the end they end up being a happy couple.

This doesn't bother me as much as it should, the rape aspect anyway.  I have read far, far too many versions of this story, so many different rape fantasies, to be offended by this.  What actually bothers me most is the feminisation of Kirk and the complete disregard for characterisation (I guess more to the point, that Kirk needs to be feminised to make the rape and then self blame acceptable, even laudable).  The feminine character is often a self insert for the female author/reader, and there's often a disconnect if the reader doesn't have the fantasy of being dominated by the other character.

I often worry what kind of mentality we're breeding into fans through this kind of fiction, especially younger female fans, because despite the fact this was published in 1986, we see the same themes, the same stories coming up again and again today and they aren't empowering or hopeful.  

Fan literature is more influential than many people realise.

If you want to read this story you can find it here.  I haven't checked for any alterations/revisions in this text (and I'm not reading it again) as this appears to be uploaded by Van Hise herself, but it should give you the uh, flavour of it.

Star Trek - Fanzine - Stellar Gas

'Stellar Gas' published by 'Pon Farr Press' is a 1979 Star Trek fanzine edited by Della Van Hise.

'Della Van Hise?' I hear you murmur to yourself, a vague recollection sparking neurons in your brain.  'Where have I heard that name before?'.

Oh my friends, your memory does not do you ill, I wrote a review on that wonderful monster!

Killing Time - Della Van Hise

The thing is, Killing Time charms me.  I can be pretty hard to please, but while I do recognise that it has many problems and should be lambasted for its myriad of inconsistencies, inaccuracies and self indulgences, I also love it for the utter slashy pleasure it was to read. 

'Jen', I hear you say, 'why are you writing another love letter to Killing Time right now?  I thought you were reviewing a fanzine 'Stellar Gas' edited by Della Van Hise'.

OK ok... I'll explain myself.  I like buying and collecting things which connections to other things.  So, for example, when I saw an ebay listing for a fanzine edited by Hise, I was suddenly very excited, and it was very moderately priced too (and already in the UK! Hooray!)!  This is actually a Xerox copy of the fanzine, not an original however it was advertised as such and the quality is very good anyway, so I can't complain!

Now, fanzines are actually a relatively new thing for me, they aren't common in the UK and the postage costs from the states can often be prohibitive so I don't have many, although I am falling in love with them.  I just love fanfiction and actually, when you look into the history of fan communities especially the Star Trek communities, they can be pretty fascinating!

TLDR: I bought on impulse because it had Della Van Hise's name on it and because it was at the right price.

The publication itself is pretty good looking, the layout and art is satisfying; you wouldn't believe my relief when I saw that the text for the longer stories was organised into columns and didn't traverse the width of the page.  However, because of the kind of dated art (in some cases, high contrast to enable easy printing) and text, it reminded me of my old church newsletters!  It's a very odd sensation!

Contents wise, there are fifteen pieces of artwork of varying quality, some are reportedly produced by professional artists, I haven't actually looked into this yet however.

Artists Featured:

• Ralph Fowler
• Cheryl Newsome
• Scott Gilbert
• Kerry Gammill
• Matt Fertig
• Craig Sattler
• Bev Zuk
• Martin Cannon
• Jim Kuzee

There are ten pieces of written work, two of which are prose, while the remainder are poetry.

Writers Featured:

• Tracey Alexander
• Pamela Rose
• Leslie Fish
• Jeanne Powers
• Marilynn Lebo
• Christopher Randolf & James Van Hise
• Della Van Hise
• Merlin Adams
• D J Biehl

The first prose piece is written by Tracey Alexander and is titled 'Lost in Thought'.  Whilst I was reading it I got this terrible sense of deja vu.  There's time travel, a certain female Romulan commander, slash overtones in neon lights, a plot to change history enough for the Romulans to take control, a strange reconciliation with that Romulan commander...

It was too close to the plot of Killing Time.  The writing, too similar, too... familiar.  My partner suggested this Tracey girl was probably a friend of Van Hise, they possibly discussed it with each other.  A quick google search confirmed it.  Tracey Alexander is a pseudonym used by Della Van Hise - one of the many pseudonyms used by Della Van Hise.  Lost in Thought then is an early draft of Killing Time.  I can only imagine Van Hise or Alexander got good feedback for Lost in Thought to make her want to continue to work on the idea.  I have to admit that Lost in Thought is a pretty interesting story with plenty, PLENTY of Kirk and Spock agonising over each other, their relationship, their feelings...  I'm not going to complain, it gave me a case of the warm fuzzies.

Lost in Thought does differ from Killing Time, obviously a lot of content is added, some taken away.  For example, Lost in Thought has a Starfleet sponsored conspiracy, actions on the Enterprise which are tantamount to mutiny, Kirk's mind being removed from his body and placed in another person, then into Spock (all of which has some analogue in the series), and plenty of slashy moments.  It doesn't have the 'second history' story line, nor the beautifully self indulgent characterisation of Kirk as a drug addict ensign, vulnerable to and sensitive to the dutiful ministrations of his Vulcan captain... ... ... Sorry I slipped off into lala land for a second there.

The Kirk / Spock relationship is understandably less physical in Lost in Thought, but simultaneously more intimate due to Kirk literally being on Spock's mind!  The weirdest scene is Kirk taking over Spock's body in order to have sex with the Romulan commander while Spock hid in his own mind.  There's also an indication that Kirk and Spock are already bonded at this point, Spock seems to indicate this, even if Kirk doesn't know.  It certainly isn't a physical relationship at this point, but the general gist by the end is that Kirk and Spock are going to discuss their relationship further. 

Basically, if you liked Killing Time and you like slashy, romancy, dramancy (what?!) stories that are unapologetic and shameless in their distribution of the warm and fuzzies, this story is probably for you.

The second prose piece is 'The Gift' by Christopher Randolf & James Van Hise.  James Van Hise is Della Van Hise's husband and... oh, you guessed it, Christopher Randolf is another pseudonym for Della Van Hise.  I'm not even sure how much James Van Hise put into this story because it has Della all over it, from the overt slash to her stylistic quirks.

The Gift is less enjoyable, mainly because it is utterly batshit crazy.  And yes, I mean more crazy than Killing Time and Lost in Thought combined, let me summarise.

Kirk is stranded on a very wet planet, he can't get back to the enterprise because electrical interference or some such thing.  Kirk gets approached by an elf, who uses a magical knife on him which results in immortality.  Kirk gets back to the Enterprise and finds Spock dying, he uses the magical knife on Spock.  Kirk and Spock are now immortal.  Kirk and Spock get blown up, but survive as pretty much mounds of flesh, because, they are magically immortal.  McCoy takes them back to the same planet as Pike and the Keepers in order that they stay sane.  McCoy ends up going there too, because, he shouldn't have to pay the penalty for bringing them back to the planet.

I don't really have much more to say about The Gift, old, little space elves, space magic, immortality, ridiculous contrivances, also, permanent universe alteration, there is no reset button.  I guess that's the joy of fanfiction as opposed to the novelisations, there can be permanent changes to the status quo.  On the other hand, I'm not sure stories like this are not just a waste of paper.  Sorry if I sound a bit harsh there, but I really do feel that way!  Just think, they could have brought down the price of the production of their fanzine considerably if they hadn't put that piece in!

The poetry is pretty fun, there is a poem by Della Van Hise (under her real name!) here too.  I don't think that the other poetry is by her under pseudonyms, but there's always a possibility!    Although I did like Hise's  Feast of Dust, I preferred the poems by Merlin Adams and Leslie Fish, both of which are written from the perspective of Doctor McCoy.  Adams' poem takes the form of McCoy observing Spock whilst Kirk is on an away mission without him, while Leslie Fish's offering takes an unusual format (rather like a translated poem from ancient Greece), as McCoy considers his relationship with his old enemy: death.  I'm actually a really big poetry nerd, so I'm always interested in reading it.

The final parts of this publication are a ~very useful~ listing of fanzines published under 'Pon Farr Press' and an open letter to the fandom about an unscrupulous seller of unauthorised xeroxed zines at conventions in the states.  I love this kind of thing, because it gives you a snap shot of what was troubling the fans at the time, looks like some things always remain the same!

I realise that it might be a bit strange to review a fanzine which is pretty hard to get, but seeing as this has been out of print for so long, I might scan and upload parts of it, like the art work, some poems and perhaps the first story so that other people can actually read it.  I'll put it on a new page on the blog when I get it done, so keep an eye out.  I do have my eye on getting Stellar Gas 2, mainly for the front cover - Spock on an alicorn, THAT is a picture I must have in my collection!

ps. Sorry if you saw this post before I fixed some errant sentences, I'd edited some of it from my mobile and managed to move entire sentences around accidently!

pps. I am never editing on a mobile device ever again, every correction causes more errors!