Star Trek - The I.D.I.C. Epidemic

"Yer right,"  Beau said.  "Only..."  His voice trailed off.
She looked at him.  "What's the matter?"
"Well," he began.  "I can't - 'ere, maybe it's easier if I just show you."  He lifted his robe to reveal a long, angry gash along the length of his thigh.  T'Pina gasped involuntarily, her own pain forgotten.

Not a very inspired cover all told.
Not much of these three in it either...

I selected Jean Lorrah's second Star Trek book The I.D.I.C Epidemic (#38 Pocket, #7 Titan) in a strategic move to get rid of what I expected to be one of the weaker books in this selection of ten (#31 to #40) so I could enjoy the rest of them peacefully (ignoring Battlestations!), and because I knew that if The Vulcan Academy Murders are anything to go by this book should be quite easy going.

Now I can't answer to whether The I.D.I.C Epidemic is one of the weaker books or not yet (I suspect that expectation will still be proven correct) I can happily report that although Lorrah is at this time still lacking in a lot of areas as a writer, she has improved considerably since  she wrote The Vulcan Academy Murders.  I can't say anything as dramatic as 'you'd never know it was Lorrah', ultimately her girlish silliness is still there, her basic narrative formula stops prevents any kind of mystery, and her clumsy, overly simplistic science makes it difficult to accept the greatest medical minds were unable to come up with a solution to the problems presented.  I can say however that Lorrah has matured a great deal since The Vulcan Academy Murders, all aspects seem a lot tighter and better thought out in The I.D.I.C Epidemic and she does a considerably better job on her characterisations generally.  I think this may be partially to do with the fact that she uses the 'canon characters' very sparingly and concentrates more on developing her cast of original characters (and her versions of Sarek & Amanda).  Usually I wouldn't encourage this, but in the case of Lorrah her strength lies with developing her own cast of characters within the Star Trek universe as her grasp on existing characters is tentative.  She tends to bend characters to the narrative as opposed to having the narrative bend to the characters.

The I.D.I.C Epidemic follows directly on from the end of The Vulcan Academy Murders, so I guess if you were set on reading these two books, you may as well read them together and in that order.  Unfortunately, when Titan published these books they were published backwards and four books apart (TIE is #7 and TVAM is #12) which must have been confusing for readers at the time, especially because characters like Kirk, Spock, and McCoy are very minor characters and much of the story is building on characters and events of TVAM.  Lorrah says in her foreword that you can read these two books out of order because 'all the Star Trek novels are designed like episodes, so that it doesn't hurt to miss some or read them out of order'.  I think Lorrah is over estimating her own ability here (as she does in much of her foreword).  Her writing although much improved is not good enough to really make this a stand alone novel, not with her transplanting of characters which had significant development in her previous book but who aren't redeveloped or explained well in the second.  Having read TVAM I still had some difficulty following some of the characters until TIE jogged my memory enough about the previous book.

The I.D.I.C Epidemic starts rather slowly I feel, which contributed to me taking far too long to read it, the story didn't really become interesting to me until over half way through; once I reached that point however I finished it pretty quickly.

Nisus is an inter-species science colony, so inter-species in fact that there is even a Klingon representative (who turns out to be quite a decent main character) of the 'Final Reflection' mould, and Orions are also involved.  Being a colony, there are whole families there and within them, many mixed heritage children, the implication for much of the book is that the diversity of the people there and in particular the children has caused the terrible mutating plague.  It begins with introducing the plague, the Klingon main character and emphasising the mentality  / presence of the Orions.  Lorrah also introduces the strange additional peril of ice damaging turbines and spring melts potentially flooding the colony; this whole side story I find quite a strange inclusion to be honest and ultimately just adds more silliness and drama to the plot.

The Enterprise leaves Vulcan some time after the events of The Vulcan Academy Murders carrying Sendet and a band of aggressive Vulcans which are supposed to be delivered to a penal colony of some form.  Also on board are Sarek and Amanda (now recovered from their ordeals in TVAM) on their way to a diplomatic meeting and two more characters from TVAM Sorel, the Widowed Vulcan Healer and Daniel Corrigan, a human doctor who married Sorel's daughter after the events of TVAM.  Also included in this group are T'Kar a Vulcan nurse and widow, and her adopted daughter T'Pina who were to be returning to their home Nisus which is now coincidentally plague ridden.  You following?  Good.  

The plague itself is found to mutate within the bodies of mixed-species or hybrid individuals, creating various strains and sub-strains in both iron and copper based blooded persons.  The interest that arises in this is the reaction to the mixed heritage people by people on Nisus - and here is the peril - even if Nisus is saved, can it still continue and an inter-species colony if indeed the plague is proven to have been caused by their diversity?  The answer to this is that Lorrah decides to cop out from tackling this question and instead devises a work around so that it becomes apparent that the hybrid children and inter-species couples were not the cause of the development of the plague at all.  This of course makes the resolution of the story relatively simple since one point of friction is easily removed all together.

But really the whole idea of the plague is secondary to Lorrah, what she really wants is a stage for her modified Vulcans and inter-species couples whom she had developed extensively in fanzines  in the 1970s.  She has a particular love of Sarek and Amanda's relationship and has developed these characters in her fanfic writing.  I think this is why I felt (and I guess still feel) a disconnect when reading TVAM and TIE; Lorrah has developed this characters to such an extent in her own mind that they have changed significantly from their incarnations in the series.  I guess if you haven't read her fanzines then meeting these two characters in her novels can feel a little bit disjointed, if you see what I mean.  The same goes for Lorrah's Vulcans who I find are characterised a little strangely, but again I feel this is due to her own development of Vulcan culture... I think definitely influenced by her friend Lichtenberg and her Kraith series.

Lorrah wants to make sure her characters are happily paired off in the end.  Her Widower from TVAM is pared with her new main character's mother - a widow - and by the end of the book her new girl character (who ends up being a Romulan... yep just let it roll) is paired off with the charming and probably cockney (sigh) half Human-half Orion pirate son, 'looks human, bleeds green' Beau Deaver.

There isn't really too much more to this book, since it's really about showcasing these original characters and their thoughts and feelings and actions.  McCoy and Kirk appear every so often.  Amanda ends up ill and on the verge of death again.  Spock ends up ill and we very briefly hear a bit of angst from Kirk.  Uhura is a voice over the intercom and Scotty pops into the narrative a couple of times before going back to doing whatever he likes with the Enterprise engines.

A real weakness to this story however is the premise that medical personnel wouldn't be able to spot plague transmission vectors and a say, Klingon engineer would because he's not thinking like a medical professional but like an engineer.  Once you kind of pick up on how ridiculously simple the answer to the problem is and how silly it is to be so far in the future and apparently they still don't know how to deal with plague outbreaks... it somewhat breaks your suspension of disbelief.  If Lorrah had understood a little bit more from a medical perspective, perhaps it would have worked a little bit better.

Finally, I'd like to draw attention to Lorrah's foreword (N.B. In this case I read from the Titan edition) which has a couple of interesting points.  Firstly, she talks about the fandom, the Welcomitee and the Star Trek Offical Fan Club, she then moves on to drawing the reader's attention to fanzines (which of course she was heavily involved with and where she developed much of her Vulcan/Sarek/Amanda headcanon).  She also talks about how to pursue the lofty position of 'professional author', and perhaps... perhaps I should just quote this bit:

"They cannot collaborate with you, write the stories you want to tell (you'll have to do that yourself), or critique your novels (they're busy writing their own).  All authors though, are happy to receive comments about their books, and most will answer questions."

Now, it's all very reasonable... I guess, but the tone of this (and the rest of the foreword) just rubs me the wrong way.  It seems a strange thing to put into a foreword but then again, looking at her fanzine history (and her slightly strange demands/requests as part of that) I'm not incredibly surprised.  I get the feeling that Lorrah has a lot of ego, in some aspects deservedly, but in others...

I think that in her foreword she is writing in her 'academic' style.  I haven't read any of her academic writing, but I suspect it will read rather like the foreword.

Thing is, in my opinion the quality of the novel and her ability as I have experienced it doesn't really warrant the arrogance with which she writes.  In her academic / non-fiction writing she could well be brilliant, or even her short stories which she produced for fanzines could well be top notch but at the time this novel was produced she really isn't a very good novelist.

Which isn't to say the novels I've read from her aren't enjoyable per se.  The Vulcan Academy Murders was enjoyable because it was ridiculous even if the writing wasn't that good and The I.D.I.C Epidemic is similar in that it's so silly and saccharine at times you can't help but laugh.  So... depending on your taste, you might want to give The I.D.I.C Epidemic a go, certainly if you enjoyed Lorrah's previous book The Vulcan Academy Murders but equally if you just want a bit of light read with OC characters as a focus.  I think this is the last Star Trek TOS novel which was released with side characters / OCs as the main protagonists to the story; it might be worth reading just for that!

3/5 - Plague! Crashes!  Flash Floods! Romance! A nearly absent main cast! 

Sorry for the delay, although I'm feeling much better than before the operation I've been somewhat out of sorts!  Hopefully back to normal programming soon!

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 - The Final Reflection

"There is always," Manager Akten said, "the Komerex zha."
"I do not acknowledge the existence of the Perpetual Game," Margon said without turning.  "Society is society, war is war.  If they are games at all, surely they are not all the same game.  I deny it."
"That is a favoured tactic," Akten said.
"Green Lancer to Level Nine."

If I wasn't systematically working through all these Star Trek novels and gave myself an option of whether to give myself a pass on ones I didn't like the sound of (based on the blurbs), The Final Reflection (#16 Pocket, # Titan) (1984) by John M Ford would have been one of them.  If I had indeed done this and not just forced myself to read something that sounded ultimately uninteresting to me I would have seriously missed out on a top notch Star Trek novel from the Pocket Books series.

Spock and Krenn play a game of
chess while Sarek looks on?
(Sarek isn't there in the book)

Saying that, I wouldn't say that it has converted me to novels with this kind of focus, it is still not really to my taste, however saying that I can't deny that it is well written, well plotted, well paced.  Characterisation is very strong, the narrative is consistent and well framed.  The suggestions about Klingon society believable and well thought out (unlike the later novel Pawns and Symbols).  It's almost a shame that this is a Star Trek novel because I think it could almost be better not constrained by Star Trek.  Much of the novel is I suppose speculative in a way and set well outside most fans knowledge of Star Trek bar the framing narrative it could be its own standalone story.  I expect that the framing narrative was bolted on in order for it to be published by Pocket Books as a TOS novel since although the narrative works it isn't the strongest.  Although I generally like framing narratives and the like (this is pretty much the earliest example of it in a TOS novel) I do feel it is the worst aspect of The Final Reflection.

The late John M Ford seems to have been an interesting character to say the least (he died in 2006).  The Final Reflection was his fourth published novel and was released hot on the heels of his 1984 World Fantasy Award winning novel The Dragon Waiting.  Ford would go onto write another Star Trek novel 'How Much For Just The Planet' and also write a Klingon orientated RP scenario for the FASA RPG series.  Ford was known for his aversion for doing things that had been done before, which would explain his framing narrative (not seen until now in the Pocket Book series) and his introduction of 'Klingonaase'.

The framing narrative is an effective if perhaps a little ham fisted way of getting rid of the TOS cast for the duration of the actual 'story' that Ford wants to tell.  In essence, you start The Final Reflection, the Pocket Books version you are holding in your hands, read the prologue, and then start the book that Kirk is reading in his cabin; title page, contents, prologue and all.  I think it was a nice touch to have the contents page there and the 'note from the author', as well as quotes from the characters who reportedly took part in the events of the novel within the novel.

As a consequence of the novel within a novel format, we end up with three dates to take into account.  The Final Reflection of our world was released in May 1984, the events of the framing narrative take place in the 2270s (I'd say between TMP and TWOK), and the events of the novel within the novel take place over about 15-20 years... ish... in the 2230s.  It's interesting to note that TSFS came out in June 1984.

The acknowledgement by Ford at the front of the book asserts that Ford had been developing this story for about 15 years... and it shows in two ways.  Firstly, it is an excellently constructed story which frankly, only comes about from serious time and work.  Secondly it is also regularly confusing as some characters / sections seem to have been added in to account for the change in looks between the TOS Klingons and the Klingons from TMP onwards.  As far as I understood while reading the main character is of the 'new' style Klingons (pointy teeth and forehead ridges), although sometimes it seems he isn't (especially as he seems to be a 'fusion' - hybrid to you and me).  There is a notable character who seems to be a 'TOS era' Klingon who is definitely a 'fusion'.  However, I could be misunderstanding, it would however possibly fit in with various fan theories at the time (one being that the Klingons seen in TOS were a group used for diplomatic purposes etc.).  Of course we now have an explanation for the change in appearance thanks to Enterprise, but at this time there was no such explanation.

The bulk of the novel follows the life of Krenn and his fortunes, starting as a talented youngster and ending as an established commander and one could say, diplomat.  There are through necessity frequent time jumps, some of which can be a little confusing.  Krenn is generally a likable character for a Klingon, I mean, he's still a murderous bastard but he is intelligent and charming in his own way.  The friendships he builds up and his relationships especially with Dr Talgore are endearing.  Although I think the sweetest moment of the whole novel is that he ends up romancing his childhood sweetheart... well as sweetheartish as Klingons get anyway.

Of course, this low key but super cute (do I need to add for a Klingon again?) beats the Kang relationship in Pawns and Symbols hands down.  It's quite obvious that The Final Reflection heavily influenced Pawns and Symbols, as there are quite a few cultural parallels between the Klingons and the narrative is similar in that the 'main cast' are excluded from much of the action.

There are a good few scenes/characters that stick out to me.

- The death of Krenn's adoptive father and his household.
- Sarek & Amanda - then the chess game between Krenn and Spock
- Scene with McCoy's grandfather.

Honestly, the assassination of the 'Thought Admiral', his consort (who happens to be an Orion), and his servants is possibly the most gut wrenching event.  Testament to Ford's writing ability, I actually felt appalled and saddened by the deaths of these characters he barely told me about.  The death of the 'winged' alien was particularly nasty.  Krenn thought so too, although all he was doing was watching a video of the assassinations taking place.  I thought it particularly moving that he realises 'love' between his father and the Orion consort, although he doesn't understand it until much later.

The chess game depicted on the cover is a very minor cameo of a young Spock, and Sarek never sees it, Amanda does.  Some nice observations here.

McCoy's 'cameo' is by reference.  Some people have derided the choice of actually referencing him instead of making it more ambiguous, but I actually like the way it's done and I don't actually think it detracts at all.  I had to laugh though since Kirk was no where near born at this point, but I think McCoy has been aged a little?  I could be wrong.  I think Spock is just a child (much younger than the picture, so I think it makes sense... I haven't done the maths).

Life as a Game - Klingons and the Perpetual Game.

At the forefront of The Final Reflection is the idea that everything that occurs is part of a universal and never ending game.  Some people subscribe to it, some people reject it, some are players and others are pawns.  Ford suggests that Klingon society revolves around this belief and that Klingons see their actions, their lives and interactions with others as a game - this to a certain level accounts for the Klingon distrust of each other, and their devious nature.

Excluding the framing narrative and the book 'bumf', the opening of Krenn's story is a game in which he is a pawn - a lancer - in a bloody deadly game where the 'players' move pieces (children in this case) around a board.  When they meet an opponent they have to fight until one is incapacitated defending a 'goal'.  The one who reaches the top wins the match.  Characters are introduced and just as quickly exit the story; their games are elsewhere for the time being.  Eventually some characters will come back as pawns or players in their own right.  Ford does very well in creating the illusion that the universe is bigger than just Krenn, characters weave in an out of the narrative playing their own games, Krenn is just one player amongst billions.  Krenn doesn't know all the characters (nor does the 'novelist' persona) but there is just enough information about them to make you want to know more, which, for the most part you are never given.

Krenn (or perhaps more accurately the novelist) plays games in a broad sense with the reader.  One of the lessons Krenn learns young is not to say anything you do not wish to be heard, basically 'keep your own council', because of the constant surveillance of the Empire.  The reader is also kept in the dark at several points, which sometimes makes Krenn's actions inscrutable.  At times the reader does not realise that Krenn knows something, which can make him hard to follow.  This actually fits into the framing narrative, because the novelist also doesn't know everything, he's recreating events that sometimes, not even he understands.  Not even the author understands the rules of the game.

Different games are mentioned and/or explained.  They are predominantly board games which resemble to a differing extent, chess.  A few are referred to throughout the novel as events unfold and they are reflected in the moves and goals of the games themselves.  Like the first game we see, the game of life is lethal and Krenn relearns this lesson early as he witnesses the fall of his adoptive father, his father's consort, and his household, because his father is outmanoeuvred in his play.  It takes some time for Krenn to realise the extent of his father's love for Rogaine (his Orion consort), even when watching his father reaching toward her as he died.  Krenn realises his own feelings later, and no doubt acts with his father's actions in mind.



Krenn's final 'play', which prevents galaxy wide war isn't just an altruistic action.  Although it prevents war between the Federation and the Klingon Empire which is obviously a good thing from our perspective, it also prevents the Federation from fully allying through fear and pooling all their resources against the Klingons.  Krenn's stance?  It is left up to the reader, but from my perspective Dr. Talgore was successful in his influence of Krenn and although his actions benefited the empire in the long run, I think Krenn, with his exposure to the other races and his strategic mind had decided peace would be a better option if not joining with the Federation.

For his part, Krenn influences those around him by changing the way he is perceived in order to get the upper hand in an exchange of words and wits.  He has many masks, which are assets to him in his game.

So, what is the final reflection? Humans and Klingons reflect each other, or at least the Klingons reflect an aspect of humanity which is pretty much how they were developed (although sparingly) and then developed through the future series and films.  In The Final Reflection, we see instances of humans playing the same games as the Klingons, corrupt games of power, misdirection, and devious strategies - even inciting a war is not too great a price to pay in these games.  However, the reflection is like looking into an infinity mirror.  Even whilst we point out the flaws of the Klingons, Ford points to their humanity, to Krenn, and his trusted friends - the 'other' isn't so different after all.

Essentially Ford is drawing attention to the way we perceive and treat our enemies.  Klingons, Conservatives, Socialists, Liberals, Muslims, Jews, Christians, pro-life, pro-choice,  people gain from demonising the other, they benefit from dehumanising and preventing conversation.  Even in the final section, the closing of the framing narrative Kirk reports that Star Fleet are announcing that The Final Reflection is all fiction, even though its effect appears to be positive.  The Final Reflection, a novel within a novel tries elicit understanding beyond the Organian Peace Treaty, which does not facilitate understanding at all (it's essentially mutually assured destruction - a cold war). 

The Final Reflection contains some of the best that Star Trek has to offer.  Star Trek is always at its best when being used as a vehicle for asking (and answering) the big questions of our time.  Ford shows us a story told without the main cast can be done and done well, however I still think some of the charm is lost without their presence.  Even though the development of the series took the Klingons in a different direction to Ford's vision, this is still a great read and well worth your time.  Call it an AU or put The Final Reflection as a work of liberal Federation propaganda, either way I seriously recommend it.

5/5 - Let the games begin!

"Be a storyteller, an embellisher, a liar; they'll call you that and worse anyway.  It hardly matters.  The Tao which can be perceived is not the true Tao." 

- Dr. Emmanuel Tagore, to the author.

Star Trek - From the Depths

"Your arguments are at base emotional," Spock said. "Logic tells us that any attempt to systemise justice will entail a degree of compromise."
"Then set logic aside what does your heart say?"
"My heart is incapable of speech, Commissioner."
Wayne stared at him.  "Is he making a joke, Captain?"
"He's Vulcan," Kirk said.  "He can't make jokes."
He saw the sideways flicker of McCoy's eyes, the ghost of a grin, hastily hidden.

From the Depths (#66 Pocket, #61 Titan) (1993) by Victor Milan was, I must confess, chosen because it had silver gilded lettering on the first edition, and not the usual gold.  I'm sorry, I'm a bad girl.  Whatever my reason for picking this one however, I've got to say it was rather good, although a quick crib on Goodreads suggests that opinion is divided!  I think I enjoyed this so much because firstly Milan created a character I loved to hate, and secondly the water world idea was imagination food.

The premise of the novel is a relatively simple one.  Kirk and the Enterprise are sent to mediate between (read: remove one of) the species living there.  One species (a kind of strange, small horse like creature) claims that humans settled on their native planet and are aggressively attacking them.  The humans on the other hand claim otherwise (naturally) and imply that the other species - the Susuru - started the attacks on them, and that they have merely been defending themselves.  The situation is made more complex because of the Klingon presence who are acting as advisers to the Susuru.

Memory Beta Summary

The bulk of the novel comes from it's theme and the characters that represent it, and although this novel was written in 1993, the concerns it addresses are especially prevalent today.

You'd expect the Klingons to be the main villains wouldn't you?  Well... you wouldn't be totally wrong, but I can't hate them, they are just being what your expect them to be.  No, the true villain is a human bureaucrat, feminist, PC pushing, agenda driven... female.  Of course these days we'd call them 'SJWs' or 'Social Justice Warriors', and what a blight they are!  I have a particular antipathy towards people like this and have sat appalled in the same position as Uhura, being talked down to because a feminist disagrees with my position:

Wayne looked around, her lovely haughty face with scorn.  "How like earth men," she said.  "What other Earth-derived men say is all that's important - the outcries of native beings count for nothing."

"Two of the spokespeople for the Discordians were women, Commissioner," Uhura said quietly.

Wayne dismissed the objection with a flip of her hand.  "The leader was a man.  They're a male dominated, exploitative society.  The women were figureheads - nothing more.  They'll recite the lies they're told to."

"This ship is commanded by a man, Commissioner," Uhura said.  "Does that mean I and all the other women aboard are nothing but puppets and empty headed liars?"

"Lieutenant, I don't think I like your tone."

"Commissioner, I don't think I like yours."

The passage above represents the Commissioner - Moriah Wayne - well and... she's easy to hate because she's someone everyone knows.  The apologist with that particularly detestable way of thinking, or reasoning which alienates everyone and will not be brought around to reason.  She demonises one group in this case human men, in other cases all humans, in favour of another species with no consideration that perhaps they (in this case the Susuru) might be in the wrong.  In this case, Moriah's hatred goes so far as she becomes more of a monster than the monsters, in her thirst for her particular brand of 'justice'.  I've said before that Star Trek is at it's best when it's tackling a real life issue, in this case it's a stark warning of a destructive way of thinking, a thinking which seeks to punish and destroy groups of people because of their backgrounds whilst elevating others because of past injustices committed against them.  Whilst supporting a group and giving them the means to improve is certainly a good thing this shouldn't be done whilst punishing people who are circumstantially in a better position.

I'll stop proselytizing now, I just had to get that off my chest!

Most horrifying of course (not really, but humour me) is that Kirk makes a terrible misjudgement regarding his relations with her.  Seriously James T., that woman was unhinged from the moment you saw her, just you just couldn't keep it in your regulation pants!  I am disappointed.  Problem is, it isn't outside of his character to do such a thing...

Anyway, not going to spoil just how beastly she is, but she does do something quite horrific, and you know what, when she eventually gets her comeuppance it is intensely satisfying.  Intensely satisfying.  On thing I do dislike though about her characterisation is that her behavior or, well frankly insanity is blamed on a tragic back story.  Like, Milan had to explain it away with some hackneyed pseudo psychology about her being an abuse victim so it kinda mitigates the pure evil she commits.  Sorry Milan, it doesn't.

Through the commissioner's story we also have a little bit of insight into Federation politics and the  possibility (almost a certainty) of corruption therein. Different authors have different takes on the situation within the body politic, Milan suggests a wearyingly familiar scenario where self serving individuals cover up  the evil actions of their friends.  I still don't agree with how this is linked with Moriah Wayne, I don't see why she had to have an excuse to be a monster.

Theoretically we're challenged to accept the 'human' interlopers, after all they are remnants of Earth's Eugenics Wars - think Khan - who escaped earth on a sleeper ship, only waking and landing on this oceanic planet forty or so years ago.  The most challenging is that they still practice genetic engineering, which really has been a requirement for life on this planet with its punishingly hot and humid environment and limited land.  The Augments are resourceful and command respect for their adaptation to their new environment, not just genetically but also in the way they have changed culturally and technologically to live on vast floating cities that have the capacity to submerge if the need arises.

We're introduced to a number of characters from the 'Discordians'  / Auguments, including a rather attractive green haired girl... who actually is the first character to be described in the book.  Kirk realises however that his 'love' has got him in trouble once this adventure and doesn't pursue her although he is interested in her (and she in him).  Aileea is set up to contrast to Moriah.  She is strong in combat, leading defense against the attacking Susuru but is also gentle and doesn't want to hurt them.  She is a strong representative of her people without a bureaucratic/political body behind her and doesn't feel she has anything to prove, seeing herself as equal to all others.  Other discordian characters are equally likeable one extensively engineered woman strikes up and easy friendship with Spock, and another male representative just seems like a super nice, accommodating guy!

I said that we are theoretically challenged to accept the Augments, but in actual fact the challenge isn't all that hard, and I'm not sure if that is a clever ploy to unsettle us and make us feel like we're backing the wrong people, or whether it's just supposed to be taken as read.  After all, the Susuru are allied with the Klingons and they also seem utterly unreasonable, and aside from a couple of contacts with them we don't get to know them as a species.  The reader and the Enterprise crew don't get a chance to like them or understand them, although it is difficult to speak to them with the Klingons there.

The main challenge I guess is not trying to reach into the book to strangle Moriah Wayne?

The Klingons needed to be there to facilitate the Susuru's use of advanced weaponry, but they do fall a little flat.  The commander of the Klingon forces wishes revenge on Kirk for several events in the past, and he's the one who has concocted this plan to get the Enterprise here while trying to control the planet...  He's not a strong character and is overshadowed by Wayne, this is possibly because he's a strange combination of TNG and TOS Klingons.   The Klingons also have a secret weapon hidden under the sea... however this again falls flat as the Enterprise defeats it with relative ease.

I haven't read any other books by Victor Milan,  but he isn't an inexperienced author looking at a list of his published works, although From the Depths is his only Star Trek novel.  I'm not sure that reading this novel really makes me want to read any other of his offerings.  I did enjoy it on the whole but that's mainly because of the characterisation of Moriah Wayne... and the fact she was utterly revolting to me (love to hate!), but certain parts of the story let it down terribly.  I still want to recommend this novel however, it's worth picking up for a quick and enjoyable read.

3/5 - Somebody set us up the bomb!


Finally - Merry Christmas and Happy Hanukkah! 😺

Star Trek - The Starship Trap

'He did not normally have such thoughts.  A starship captain must be an optimistic and clever person, in addition to the other attributes he or she might have.  For one thing, Kirk was philosopher king, a supreme and benevolent leader in his twenty-three deck realm.'

I didn't pick this one!  I actually asked my partner to pick one this time, which is probably why the cover is unlike the others!  I was somewhat put off by the woman on the cover, don't be afraid, she is not a romance option (I'm not biased at all nooooo....)!  I had to laugh though, she's illustrated wearing a Starfleet uniform, but it is an important part of the storyline that she isn't part of Starfleet at all.  I formulated all kinds of theories about how she would end up in a uniform, like, she was an undercover Starfleet spy keeping an eye on an errant anti-Starfleet Federation politician - needless to say, it was not the case.  Which leads me to ask, who did brief the artist on what these covers should be?  Mind you, can't complain, the artist put Kirk on the front at his best (3/4) angle, and since the cover of the last novel I reviewed was Kirkless, well, I'm glad my eye candy is back!

The Starship Trap (#64 Pocket, #59 Titan) (1993) by Mel Gilden opens with a quote -

To see a world in a grain of sand,

And a heaven in a wild flower,

Hold infinity in the palm of your hand,

And eternity in an hour.

                                       - William Blake

                                          1757 - 1827

- and quite a lofty one at that!  It's a very well known piece of poetry, and I have to admit I was a little dubious because of it.  Why?  Well, I sometimes feel that authors try and oversell their work by putting a 'deep' quote at the beginning, trying to make it more that it is.  That might have coloured my expectation of it a little and perhaps my perception of the narrator.  The narrator's voice comes  across as pretty arrogant, and slightly aloof but his observations are usually smirk inducing.  The narrator's main focus is Kirk, his thoughts, feelings and perspectives.  I think the narrator has a strong synergy with Kirk, or perhaps Kirk overwhelms the narrator a little... he's charmed by him and the narrator digs in to Kirk's smarmy nature for the best observations and reactions.  Spock and McCoy are strong supporting characters, well characterised especially when the narrator's gaze moves from Kirk for a short while and reads their inner workings.

Much of Kirk's interactions in this novel are characterised by a distinct weariness, which you can occasionally see in the series, there are certainly a couple of episodes in season three in which Kirk (or Shatner... perhaps both) is really fed up with the general state of things.  Short tempered, likely to say something with a 'devil may care' attitude, tired of responsibility, tired of politics and bureaucracy.  This may sound like it's going to be a heavy book with a description of Kirk's temperament like that, but it's not so!  The Starship Trap is an offbeat but funny novel that just seems to hit the right key.  I guess Kirk's attitude in this story is best described as sardonic, which ousts McCoy from his usual role as resident cynic-come-humanitarian to bold-optimist.  It's nice seeing Bones being cheery, and also RIGHT about someone!  Spock remains Kirk's right hand, companion and quasi-computer, I'm fairly sure that he's relieved that Kirk couldn't go chasing tail this time!

I'm getting a bit ahead of myself, I haven't even summarised the story yet... but for once I don't know where to begin!

The story begins with the Enterprise crew on shore leave, this gets interrupted with orders to go pick up one Conrad Franklin Kent and his assistant.  Kent is a Federation politician, Federation presidency hopeful and noisy critic of Starfleet, he is joined by his able assistant Payton, a woman who 'gets things done.  On picking the Kent and Payton from Pegasus IV, Kent then orders Kirk to travel to Starbase 12.  You can imagine Kirk's disapproval at this turn of events, especially since the Enterprise is being used as a taxi to a man such as Kent.  During this trip we are introduced to Payton's mental augment; she has an implant which allows her to record everything she experiences for her records - this of course goes down a treat with Kirk, already not in the greatest of moods.  While on route to Starbase 12, the Enterprise is confronted by a Klingon starship, the captain of which claims that the Federation have been the perpetrators of attacks on Klingon vessels and responsible for their subsequent disappearance.  The easily dislikable Kent refuses to confirm or deny a weapon's existence to the Klingons.  A truce is eventually brokered and the Enterprise continues on its way, Kirk still in the dark as to the purpose of the journey.

On reaching Starbase 12, it is revealed that the Enterprise is to firstly engage in the testing of a new shield configuration designed by the reclusive Professor Omen (who also designed weapons such as the photon torpedos)  and then go search for the weapon (with Omen's help) which has been causing not only Klingon ships to disappear but also Federation and Romulan ships too.  Payton also is required to come along on the expedition in order to record the mission with her device and write report for Kent.  Naturally nothing goes to plan and the Enterprise is drawn into a trap, causing the Starship and crew to be thrown into another empty universe which they have to escape in order to stop a madman from sending the crews of hundreds, perhaps thousands of starships into other, unknown universes. 

I actually don't want to give too much of this one away, because it's one of those books which will be a pleasure to read and discover yourself.  The Starship Trap is probably more story development orientated than character development, but it is a good balance and Mel Gilden's writing is really uplifting and enjoyable to read.  The twists and developments in the story aren't incredibly obvious and I was kept guessing as to whether some characters had more information about the big bad than they let on.

Kirk and Payton are the strongest characters in The Starship Trap.  The way the narrator presents Kirk's narrative is humourous and his slightly off colour mood just really works.  I think I just really wanted a Kirk-centric novel, and this fit the bill!  Aside from the narration of Kirk's thoughts, I did like a particular section where Kirk wants to be involved with looking for a solution, only to find that he simply can't be involved.  Payton is an unusually strong original character who is well developed and is actually useful!  I particularly like the use of her augment, and how it is used as a way to develop her emotionally.  It was also nice that she was out of reach for Kirk (she had absolutely no interest in him and is engaged to another man), which meant they develop a better relationship.  By the end of the book, I was sorry to let the original characters go, I would happily meet them again in another outing (even Kent!)!

Mel Gilden just does a seriously good job with this book, and part of me isn't happy just seeing this in print.  I think it would have made a really good episode, which I don't think is accidental.  Mel Gilden has written a huge amount of TV scripts as well as four Star Trek novels, but it's clear he has a mind for television, the scene changes are often sudden but they are just in the right place to cut out any time wasting dialogue or actions.  At one point Gilden introduces us to an alien race in an alternate universe called the 'Klingee', they are of course that universe's Klingons, but their ships are a dusky pink and they are less warriors and more playground bullies who are easily manipulated into retreating.  The Klingee just felt very in keeping with the humour of TOS, again television friendly, and aren't we reading these novels because we love the television series so much?

4/5 - Yes, the poem does relate to the plot!

Star Trek - The Three Minute Universe

'"We had better prepare ourselves, Jim.  There's a very real possibility that he may be dead."  Kirk lifted his head.  "From what we know of the Sackers," he said heavily, 'maybe we'd better pray that he is."'

The Three-Minute Universe (1988) (#13 Titan, #41 Pocket) is by Barbara Paul, a mystery and science fiction writer active between 1978 and 1997; this is Paul's only Star Trek novel.

I have to admit, I don't really know where to start with The Three-Minute Universe, and I've been kind of... putting off this review.  I can't say that the writing is bad - it isn't.  I can't say the story is unoriginal - there are clearly worse offenders.  I also can't say it's particularly appealing.  It took me three attempts and a break of 3 weeks to actually finish reading it and, considering I generally read books of this size in one or two sittings, it wasn't a great start.  I think the most annoying thing about this novel is that it had a lot of potential, the idea is good, the writing is good, it just trips at the last hurdle and falls apart.

The premise is that an sensorially abhorrent race known as the Sackers have stolen a device capable of ripping the fabric of space and tapping into the energy of another, forming universe to draw off potentially near infinite energy.  They wipe out the home system of an entire race in the process of activating the device, but chaos doesn't stop there; the new universe is expanding through the tear, causing a wave of blistering heat to surge onwards, engulfing all in its path, threatening to destroy our own.

So we have some really interesting ideas here.  Paul introduces a completely disgusting looking race we haven't met before, I mean, they are so revolting that it causes seemingly every other Federation species to become violently ill, so offensive is the Sacker presence to the senses.  However, until now the Sackers have been passive, peaceful.  They simply trade with the Federation and then leave again; they are even mindful of their appearance and adapt how they dress and present themselves in order to illicit less of a response from other species.  This is how Kirk responds to seeing a sacker on his vidscreen:

'All his training and natural tolerance seemed to have deserted him.  Meeting alien races had been an integral part of his adult life; he would feel as if he'd lost a part of himself if it were to come to an end (...) But this race... just a two dimensional image of its only technically humanoid members was enough to make him feel queasy'.

We then get our first description of a Sacker, in which we are told they are large blobs in a state of 'self-regenerating decay', their mobile, white slug-like organs are visible and small maggot like things seem to move between the organs.  Kirk feels bile in his mouth just looking at them, they are by all counts revolting.  Somewhat understandably, how they look and smell has coloured interactions with species within the federation, making them a 'lepur' race, pariahs.  I think this might actually be one of the problems with how I feel about the book, the aliens are SO alien (as kirk said, only technically humanoid) they are hard to relate to.  This is actually one of the major plot points, but it's quite hard to really blame the Federation races for reacting the way they do against the Sackers; after all when they are so disgusting your eyes water, you vomit AND if there are a few of them you pass out, it's hard to imagine not wanting to avoid them at all costs.  As it turns out, the reason for the Sacker actions is how they are treated by everyone else; the reasoning is essentially that since they can't be accepted, they will either destroy or dominate every other species.

They seem pretty irredeemable right?  Well, the way that Paul gets around the completely alien and 'evil' nature of this race, is that when Kirk, Scotty, Uhura and Chekov end up captured by the Sackers, she makes them... children, adolescents.  The adults on this ship (the one that was stolen at the beginning of the book) have all died and the child Sackers are trying to continue their mission against the rest of the galaxy.  The reason they capture the Enterprise officers?  In order to have the likes of Kirk, Scotty, Uhura and Chekov teach them how to pilot their ship.

The child Sackers end up being rather endearing all told.  They are children pretending to be adults and making bad decisions because that's what the adults told them to do.  The latter half of the book is somewhat painful, or should I say uncomfortable, to read as the Enterprise crew use the innocence of the children against them.  Sure, they are mass murdering monsters, but they are also sincere and look up to their mentors.  Kirk, Scotty, Uhura and Chekov even name them, inadvertently initially; it's really hard to really dislike creatures named things like 'Iris', 'Blue', 'Babe', 'Bonesovna' and... 'Orangejuiceandwodka'.  I suppose I must just... feel uncomfortable with the fact that the Enterprise officers are being giant jerks... to children.

In the end I felt really, very sorry for these kids, I mean, they really did try hard to do what they were told, and the commentary from Spock and Sulu on the Enterprise wondering what exactly they were doing by rolling the ship over and doing all these odd maneuvers made me feel highly embarrassed.

When Kirk and the others finally make their move to take the ship, it does turn out they have become quite fond of the children, and are genuinely saddened when there is a death.  The high point, however, is the mental image of the five crew members all in a very small box playing a form of extreme twister as they take cover from a raging fire on the Sacker ship.  I read this part out to my partner, and just about made it through the section without crying with laughter.  It might be worth reading the book just for this scene.

Paul introduces the Bubble Universe Theory as the 'science' behind the Zirgosian device.  It's a multiverse theory and in this case it posits that our universe is a bubble in a sea of bubbles, pressed up against one another in a state of eternal inflation.  The title The Three-Minute Universe refers to the age of the adjacent bubble universe when it is initially tapped into by the device.  Essentially, if the tear between universes isn't repaired, then the younger universe would expand into the prime universe, destroying everything in an advancing wave of fire.

Fire and fear of fire is a pretty big theme in The Three-Minute Universe. Paul decides to develop Uhura's character by giving her a tragic back story.  Uhura is deathly afraid of fire, due to an event which occurred in her dorm when she was a child.  Her friend and roommate T'iana gets trapped under a fallen beam and dies in the blaze, Uhura is unable to help her before she succumbs to the heat and fire.  Uhura still dreams about the blaze, and the fear comes back most vividly during the events of this book.  She faces the fear both abstractly and physically, and in the end conquers her fear.

Spock also gets some development in The Three-Minute Universe, although this comes belatedly, literally the last few pages of the novel.  Spock feels fear at the impossible odds facing them, and after the Enterprise's victory, retreats from the bridge, closely followed by Kirk.  On being questioned by Kirk, Spock reveals that he has felt fear for the first time.  In response, Kirk gives him a pep talk which concludes on this note:

"Yes! Don't deny your fear.  Use it.  You'll see, it will add  whole new dimension to your life - you'll start seeing things in a way you've never seen them before.  Anyone with human genes in him who's never known fear - well, he's not.. whole.  Oh, Spock, don't you see?  You've found a part of yourself that was missing.  Don't despair, Spock!  Rejoice!  Rejoice."
    For a long moment there was no response.  Then the Vulcan slowly lifted his head, looked his friend straight in the eye... and rejoiced."

Ok, I admit it, this in actually a pretty ADORABLE moment, but I'd kind of expect it in a novel which had been more slashy, or even just one which had actually been more Spock-centric.  This ending scene just seems to have been thrown in out of nowhere, why are we suddenly focusing on Spock's first (really?) experience of fear and not having a final resolution with Uhura?  I don't know if I can really accuse Paul of being trite here, because we're still relatively early (well, below #50 Pocket) but... Spock having a break down to add extra emotional weight, implying this is the fist time he has felt fear, I just don't buy it, you'd have to put this whole episode incredibly early in the initial 5 year mission to make that statement.

I've only really talked about the latter half of the book, but really, the first half if a bit redundant and only sets the scene for the capture of the Enterprise officers.  Put it this way, once I got past the first half, I read the book pretty quickly.

So, what's my opinion?  It's... okay.  It's nothing to really write home about, but it isn't bad per se.  There is quite a lot of humour with the Sackers, and you do get the odd moment which is written really well, but on the whole if you're not worried about reading every Star Trek TOS novel, then you can probably, safely give this one a miss.  If you are a big fan of Uhura however and her character development, this is probably of interest for you, but otherwise it's not really worth it.

2/5 - DO NOT HUG THE SACKERS.

Star Trek - Ice Trap

'I don't like water, Jim.'  Kirk blinked and stared at his friend.  'It's not water, Bones, it's ice.'

Let's face it, I'm a sucker for a pretty cover, and when I was sorting through a haul of books from ebay 'Ice Trap' caught my attention.  McCoy looking resolutely out  from the centre unusually draws your eye more than Kirk does... and why shouldn't he, that dashing southern gentleman.  Jen, I say to myself, you've given far too much attention to Spock lately, share the love with the good doctor... and so it begins.

Unusually, there's no biography for the author in my copy (Titan Books edition - UK publisher) like in so many others, so I looked online.  I had a bit of a giggle then (and felt a little stupid) - L.A. GRAF and acronym for Lets All Get Rich And Famous, chosen as a pen name to cover a writing team of 2-3 authors, all female.

L A GRAF - Memory Alpha.

I'd realised that L A Graf was female, the writing is pretty feminine and now that I know there is more than one writer, I'd hazard a guess that the parallel narratives were split between them, with perhaps one writing the Kirk/McCoy sections and another writing the Uhura/Chekov sections.  Perhaps this adds some strength to the writing, because they actually successfully focus on two relationships/groups of people, lavishing as much attention on one as much as the other, which works rather well.  This lends a welcome change of pace to the story as the author(s) doesn't rush one section in order to get back to the bits they really want to write.

Ice Trap begins as an investigation into the disappearance of a shuttle carrying civilian research scientists and the subsequent rescue attempt which quite rapidly goes south.  The planet Nordstral is, as the book title might suggest, an inhospitable ice planet home to an indigenous people, the Eskimo Kitka, who have a strangely close relationship to their planet.  The planet also has a valuable resource, the plankton that live in the icy waters under the ice (Spock would contest the use of that word), and harvested in great quantities, for undoubtedly great profit.  Nordstal has a few problems however, cases of madness have occurred amongst the Norstral Pharmaceuticals staff and fierce electro-magnetic storms have become a regular occurrence, rendering much technology useless.  Delegates of the Enterprise crew find themselves cut off from their ship and relying only on themselves for survival.

As I mentioned before, there are two narratives in Ice Trap - one centres around Kirk and McCoy on an underwater adventure, while the other follows Chekov & Uhura (and their posse of red shirts) making contact with the Nordstral natives and surviving being hunted across the ice.  Spock is relegated to a minor role commanding the Enterprise in Kirk's (and pretty much every commanding officer's) absence.  Spock doesn't seem to be a favourite character for the ladies behind Graf, in fact they manage to make him remarkably superficial and incredibly irritating, lazily writing him as a tone-deaf, humourless, pedantic...Vulcan.  In this case, he's just a foil for McCoy.

And this is where it gets fun.  I think it's fairly obvious there's a 'shipping war' going on between the various novelists, and in this instance we have shots fired from the KirkxMcCoy side.  Kirk and McCoy's deep sea adventure is wonderfully dramatic and camp.  Much of the narrative comes from McCoy's perspective, namely to allow McCoy's insecurities to be the most pronounced.  McCoy doesn't like the water and hates the idea of being in a submarine under the ice, but is talked into it anyway.  Kirk picks up on McCoy's unease (it's pretty obvious) and the following scene ensues:

"Kirk surprised his friend by leaning down and placing a firm hand on the bed to either side of McCoy, effectively trapping the doctor where he sat.
'What's eating you?'
'Nothing's----'
'Bones.' He spoke quietly, without annoyance, and drew McCoy's attention like filings to a magnet.  Blue eyes met hazel ones of an intensity the doctor had never experienced with any other single human being. 'I need you with me on this one.  I need your way of looking at things to help me figure out what's happening on Nordstral.  I can't do it by myself.'
Staring into those eyes, McCoy found himself wondering just when he decided he would die for this man."

Ladies and gentlemen, you've entered the slash zone - warning pairing shots fired.  This is why Spock is depicted the way he is.  I don't think I need to elaborate.

After this touching scene (and there's a lot more physical contact in this narrative), we get a little exposition from McCoy.  We learn about an episode from his childhood where he almost drowned in a river at a family gathering, and where another child wasn't so lucky.  Tragic.  Finally Kirk understands and is sorry-not-sorry for forcing McCoy to come along.  McCoy was really the only choice, since Kirk and McCoy are investigating the madness of the researchers, and they all went mad while in this submarine/harvester.  Unsurprisingly, there is yet another madman in the submarine, and it happens to be the ship's doctor.  There are a fair few confrontations with this man resulting in injury and near drowning for McCoy.

While Kirk and McCoy are under the ice, natural catastrophes occur which cause damage to the submarine, killing the captain (Kirk takes command of the submarine then) and attracting what is described as a 'kraken'.  During their adventure underwater, Kirk and McCoy essentially work out what is causing the problems with the planet, which, if it wasn't obvious enough, is the unsustainable harvesting of the plankton.  Needless to say, Kirk and McCoy do manage to resurface and pass on their findings.

Like a fair few of the Star Trek novels, several key plot points hinge of the characters being struck with sudden and remarkable idiocy... in this rendition of the Enterprise crew, Uhura is the main victim of ISS (Inexplicable Stupidity Syndrome) and may have you muttering curses under your breath as she makes utterly bizarre decisions.  Uhura and Chekov's  story line only works because Uhura won't listen to Chekov and regularly threatens to pull rank to stop Chekov making the right decision.  This narrative involves contacting the native people in order to obtain their cooperation to travel to where the researcher's shuttle went down.  This is essential as the particular area the shuttle lost contact / crashed is a sacred area and their Shaman is refusing access for the rescue team.

Chekov is understandably wary and this upsets Uhura, who has researched the Kitkats and found them to be friendly.  Uhura, wishing to immerse herself in the culture stays in their ice tunnel home (with the female red shirt), while Chekov and the other two red shirts stay on the surface - he doesn't trust the shaman.

Tragedy strikes the next morning as the ice moves due to a reversal of the planet's magnetic poles which results the female red shirt meeting her end.  Uhura issues the order for her to stay put while she herself runs off after a Kitka child she has befriended.  Uhura is responsible for red shirt death number one.

Chekov, Uhura and the two remaining redshirts (plus one loaded grav sled) are chased across the ice by the Shaman's evil Kitka, another red shirt meets his untimely end, the remaining red shirt is injured, and Chekov is poisoned and rendered unconscious.  Somehow, the remaining rescue party end up exactly where the shuttle crashed, by sailing and iceberg back to land... this is also the location a friendly Kitka had journeyed to, where a Kraken is about to appear and where Kirk & McCoy will appear in the submarine.

So many contrivances!

Needless to say, the book resolves positively, with the Enterprise aiding replenishment of the plankton (and the pharmaceutical company swearing they will work on sustainable harvesting), the final read shirt surviving, and Uhura realising that Chekov was right all along.

I really enjoyed this entry into the novel series actually!  Saying that however, doesn't mean I forgive it for a great number of sinful contrivances, ISS, and some truly terrible descriptions ('and drew McCoy's attention like filings to a magnet.' - just because you can use a simile, doesn't mean you should).  I likes the two parallel narratives, even if Uhura bugged the heck out of me, and the pacing was pretty good!

A jolly good jaunt - 3/5.