Offutt's Slipstream: Sci-fi, New Physics & Myth

I just read Michael Offutt's new sci-fi novel Slipstream and wanted to post a review here. This is the first in his series A Crisis of Two Worlds. As someone who's read many books on new physics, this subject is of interest to me, and Michael clearly understands the concepts. He also combines myth and fantasy. Rarely have I seen anyone take this all on, much less pull it off!

Jordan Pendragon is a multilayered guy. He’s handsome, an ace at ice hockey and math, but not as at ease with navigating the emotional realms of high school and at staying clean. When he learns that he’s being followed by a strange British man Kolin, and Jordan turns to chase him, Kolin leaves behind a watchband that Jordan soon learns is what’s called a Life Extractor. Jordan is in dire pain when he tries it on and the thing sucks green oil from his arm. Jordan learns later from Kolin that the band is called a Life Extractor, and Green Life is a hot commodity.

In a tense chase scene in a carnival, where Jordan is double-dating a friend of his sister’s and pretending to like her (and girls in general), he, his sister and Kolin get sucked in through a Slipstream, which he learns is a sort of black hole from which he can come and go.

This lands them in Avalon, a fascinating yet frightening place, an alternate earth of AIs and mega-cities and shiny skyscrapers that churn out Life Green and all manner of questionable digital playthings. Kolin reveals that it’s been prophesized that a boy from earth with the name of an old king (Jordan’s last name Pendragon is the name of an ancient king) would bring order to chaos. Jordan has just been tagged!

In an intriguing blend of myth and sci-fi, adventure the world of Avalon rolls out in breathless fashion! Offutt’s desire to square theoretical physics with spirituality is hugely ambitious and I applaud it. For one, an entity called The Shadow operates a supercomputer in an unknown location that has imprisoned The Light, and Kolin’s Master.

Without giving anything away, I can say that Jordan will find love in the mad action—in the form of Kolin. This serves to deepen his character, and let the reader in more. This world was so cinematic that I could easily see it made into an edge-of-the-seat sci-fi extravaganza!

Buy Slipstream at Amazon
Find Michael Offutt's blog and website here.

The Fine Points Between YA Dystopia and Sci-fi

What distinguishes a YA dystopian novel from a YA sci-fi novel? And is there a difference between hard-core genre sci-fi, and creating a futuristic world, conceivable by scientific standards? What is the prevailing mood towards these genres?

Dystopias are almost always cautionary tales—utopias that have soured—and tropes for real life scary cultural trends such as fascism, climate change and technology run amok. Interestingly enough, the ancient translation of the word utopia is “no place”, which suggests that a utopia cannot actually exist.

A classic example of a dystopia that almost all high-school students read—and end up loving—is George Orwell’s 1984. Written in 1948, Orwell warned people of the dangers of totalitarian government a la Stalin’s Russia, and the loss of one’s personal independence in a repressive style of communism. Control in 1984 is obtained through mass brainwashing, and Big Brother’s ultimate desire is to have a person die loving the Party; this, so that there’s no danger of the “vaporized unperson” becoming a martyr and fomenting rebellion. Does Big Brother succeed? Ah! For the answer to that question, you must read Orwell’s very clever afterward.

Some current YA dystopias are THE HUNGER GAMES by Suzanne Collins, set in an alternate USA, where teens fight to the death for the richest district’s entertainment, and BIRTHMARKED by Caragh O’Brien, a world where life is reduced to helping birth babies for the exclusive set inside the Enclave by “Unlake” Michigan.

So, what about YA sci-fi? I believe it’s slowly but confidently creeping into the YA canon, despite some editors fears that teens won’t “get” the science behind the stories, and therefore must be limited to YA fantasy where there is no steep learning curve. Quite the contrary, I think teens are itching for this kind of concrete, yet visionary material. After all, the classic authors such as Sir Arthur C. Clarke ended up inventing satellite technology. I mean, how cool is that?! In Clarke’s own inspiring words: "Any sufficiently advanced technology is indistinguishable from magic." Who wouldn’t want to explore the magic of the real world?

There’s no need to fear that pages of details will overrun the genre on how to build a robot from scratch, or power a rocket. No current author wants to mimic the old-school adult genre. So, there’s no need for authors writing YA sci-fi to hide it under names like “futuristic thriller”.

Current examples of YA sci-fi run the gamut from Cory Doctorow’s LITTLE BROTHER, a sort of cyberfest for Internet geeks (And major nod to Orwell’s Big Brother), and THE ADORATION OF JENNA FOX by Mary Pearson, which explores the ethics of using new science in medicine, and the nature of the soul.

And now, onto the difference between YA dystopia and Post-apocalyptic fiction… for this discussion, I will ferry you onto the excellent post by YA Highway:

http://www.yahighway.com/2010/06/dystopian-and-apocalypse-whats.html

But before running off, you may want to answer this challenging question: Is S.A. Bodeen’s THE COMPOUND post-apocalyptic, sci-fi, or simply a thriller?