“Two Years Before the Mast”

There was an element of R.H. Dana’s Two Years Before the Mast that seemed very familiar to me: the feel of an isolated, even empty world that permeates Rime of the Ancient Mariner, Endurance, and Home of the Blizzard.

Sure, it’s clear at the beginning that there is in fact a bustling, settled civilization in the background (specifically 1830s Boston), but once Dana’s ship dropped “below the hill, below the kirk, below the lighthouse top”, as it were, it’s as if the outer world no longer exists, and he is sailing on the endless seas of an empty planet.

Even after arriving in California, this sense of emptiness is barely relieved by the presence of Mexicans, Indians, and the occasional crews of other ships. There are so few people, so sparsely settled, that if anything it makes the emptiness of the world seem more rather than less acute.

It struck me that this element is actually missing from the SF I have read.

Which is strange, as you’d think it’d be a pretty obvious detail to weave into the worldbuilding of (say) the first mission to Mars, or a newly-settled planet: the characters are alone, far from civilization and from help should it be needed. They wouldn’t have it in their head that someone is watching over them, because there isn’t anyone. They wouldn’t assume that someone can be summoned to rescue them at a moment’s notice, because there is no one to call. They would know they couldn’t simply “return to civilization” should they tire of their adventures, because they are what passes for civilization.

It’s not a sense of danger or threat, though. It simply is the way the world is around them. The conditioned sense of immersion in civilization wherever one goes is simply absent, because actual civilization itself is so distant as to be wholly absent.

I think the thorough rewrite of the former project’s “The Olympian Race”  already captures some of this sense of isolation and emptiness in the climactic chapters, so this is timely.


One “character” detail that stood out for me was Dana’s personal reaction at his return to Boston. He’d dreamt for two years of finishing his contract and returning home, imagining what he would do and where he would go and who he would see. But when his ship at last reached the pier in Boston Harbor, he was instead overcome with a sense of inertia: “There is probably so much of excitement in prolonged expectation, that the quiet realizing of it produces a momentary stagnation of feeling as well as of effort. It was a good deal so with me.”

The account was fairly short, but no less powerful for that. And the book is peppered with such character observations of his crewmates and himself, fascinating little details that SF rarely seem to capture. In fairness, it’s easier to amass a collection of such observations to draw on when you spend two years immersed in the relevant environment, something rarely possible (even in analogue form) for SF writers.


I repeatedly had the same reaction I had while reading The Anabasis and Mawson’s account of his return to the hut in Home of the Blizzard: “This is such an amazing account – it would form the basis of a fantastic SF story.”

Alas, several SF versions of The Anabasis have been done. However, the story I’m currently working on, “Beneath a Silent Sky”, originated as an homage to Mawson’s account (albeit infused with paranoid mystery…).


One final item that struck me was the section written in 1860, documenting his observations from a return trip to California. In 24 years, everything that he had encountered had changed dramatically, in particular San Francisco Bay and the surrounding areas. In 1835, he described a smallish settlement around the Presidio, dwarfed by the main Mexican settlement at Monterey. When he returned, he found a city of 100,000-plus people, smaller but significant settlements scattered all around the bay, Alcatraz turned into a fortress, and a booming economy.

I always wondered if 15-20 years would be sufficient to settle Mars to the point that it could demand autonomy or sovereignty. Could enough settlers arrive and build a sufficiently large and diverse economy to support such a move? Well, here is one real-world example to draw on…

Better the Second Time Around

Creating an entirely new Mars-focused fictional universe has not been quite as difficult as I expected it to be.

I’d been toying with a few concepts for the past several months, and really started getting good ideas while on vacation – primarily about a “noodle incident” that creates the setting for the future history, a number of consequences in the fictional “present day”, and a few of the principal characters. So much came to me while hiking that I had to buy another notebook at Tesco to keep up.

I spent a few days after I got home working out a modified three-act structure that I think will make constructing the plots of the new novels a little easier. But rather than jumping right in to building the plots for a new trilogy, I got distracted by fleshing out the fictional infrastructure. The two play off of each other in interesting ways – I have three documents open at the moment, in which I’m capturing and integrating elements of the future history’s timeline, a large number of characters central to the trilogy (primary, secondary, and tag characters alike), and technological, social, historical, and other developments that happen between “now” (the point of departure) and then. It’s quite entertaining to see how each builds off of the others and suggests new ideas that might not have occurred to me had I tried building the plots first.

While I have a lot of pieces of plot, they haven’t snapped together yet. I can see it coming, though, and it’s got to be more efficient than putting a plot together and then doing the worldbuilding around it to make it work. The latter led to a lot of dead ends with the novel plots in the old project, requiring in some places some contrivances that would have stretched credulity.

In contrast, I hit on the idea of the “Dispatches” as a way to use and extend the worldbuilding that had been done already for the old project, letting the elements of the fictional universe suggest the stories. This worked very well, I think, as most of the Dispatches I outlined had plots with solid, organic endings from the outset.

The one thing that does chap my ass about this is all the things that I predicted in the old project’s future history that then materialized in the real world (browse the entries under the “Life Imitates Art” category for a small taste of these). Maybe I’m good at projecting trends and foreseeing innovations and their consequences – but maybe I’m not, and just got lucky the first time around.

As more comes together, I’ll start laying out here what that future history looks like, the key events and technological developments that shape the next forty years. I’ll also change the site name and update the layout once I decide what I want to call the new project.

Speaking of Olympus Mons

It’s curious how difficult it is to find the location of the actual summit of the volcano.

Various sources will tell you how high it is, some will tell you it’s near the south edge of the summit caldera, but you need to dig a bit to find that it’s a little west of Pangboche crater (whose north rim appears to rival it), just an unremarkable spot in the middle of a plain. If you know where to look, Google Mars kinda gets you close (yellow pins on right):

A little underwhelming

No dramatic summit ridge? No awe-inspiring pinnacle? Not even a small rise to set the spot off a little bit? I expected more from the largest (planetary) mountain in the solar system.

This is where artistic license comes into play.

Doesn’t Look All That Intimidating

Came across this while doing some story research: Olympus Mons, complete with escarpment and aureole

Nothing to it, really…

 

 

It’s one picture of hundreds of its kind, cited as evidence of how impassible the escarpment around Olympus Mons is to surface-traveling explorers.

Yet…

Look at the left side in this picture (west-northwest on Olympus Mons). No escarpment. No impassible five-mile-high cliffs. Just a long slope. Kinda like the ones on the south side of the volcano.

I bet you could drive a rover up those slopes…

A Minor Shortcoming, Trivial Really

Plasma reactors could create oxygen on Mars

Yet, by firing an electron beam into the reaction chamber, they were able to convert about 30% of the air into oxygen. They estimate that the device could create about 14 grams of oxygen per hour: enough to support 28 minutes of breathing, the team reports today in theJournal of Applied Physics.

Guerra’s team still needs to solve some practical problems, Hecht notes.

Yes, I can see how only being able to produce 28 minutes of breathing oxygen every hour would be a practical problem. On the bright side, it wouldn’t be a problem for long.

(Yes, I know it’s only a concept and not yet built or scaled to real-world size, but the author set that up, so…)

 

The Drama of Space Nuclear Power

Who knew miniature reactors for space nuclear power could be so epic? So excessively, needlessly, theatrically epic?

What is a Micro-Reactor?

The Rolls-Royce Micro-Reactor has a high-power density, which means that it can reliably, flexibly and sustainably support a range of operational demands, providing power and heat output, as required.

Crucially, the Micro-Reactor is scalable to be easily transportable by rail, sea and even into space, making it a versatile and credible power source for a multitude of applications.

The Micro-Reactor uses an inherently safe and robust fuel form. Within its core, each particle of uranium is surrounded by multiple protective layers, allowing it to withstand even the most extreme conditions.

But how portable is the 1MW class? Can you tow it behind a rover…? 

Maybe a rover like this one?

Endurance Wreck Discovered

This has been sitting in my drafts box for a couple of weeks, so I’m a little late to the party with the news: Wreck of Shackelton’s Endurance Found

The state of preservation is remarkable, not only given its century-long submersion but compared to the crew’s descriptions and film of what happened to the ship as and after they were forced to abandon it. I would have expected a pile of rotted lumber scattered across the seafloor.

We have a Dispatch story outlined and partially written (yes, I know I say that a lot) based in part on the Endurance expedition, which I would like to get to if we can ever get Ghosts of Tharsis completed. It’s The Anabasis performed by members of the Shackelton, Mawson, and Scott crews, led (unfortunately) by someone who makes Fauci look like Oppenheimer.

 

There’s a Story Here

I don’t know what it is, but I can imagine a dozen of my own:

If you take away the ray-gun rifle and the gas giant in the background, it’s a retrofuturist take on the climax of our (eventually upcoming) story, “The Olympian Race”.

(Unfortunately, I found this several years ago and don’t recall now where it came from.)

“Redlands” On Sale

For a short time, we’ve reduced the price on “Redlands” to only $0.99.

It’s hard to believe that this story takes place only 26 years from now. That would make Silas Hudson around ten years old today, and Susannah Caillouet around three.

When worlds-famous science popularizer Silas Hudson and his partner are brutally killed while visiting an isolated settlement on Mars, settlers take justice into their own hands. The justice they seek carries a greater danger than murder, however, and their actions threaten to conceal another crime with far-reaching consequences.

In this Dispatch, freelance journalist Calvin Lake investigates the truth behind the events of March 2047, and their long-term consequences for Mars.

Redlands

Lockdown has enabled us to put the finishing touches on the next Calvin Lake Dispatch: Redlands. I’m currently finishing preparations for publishing, so you can expect to see it available by Wednesday.

 

Redlands is a murder mystery in the form of a journalistic investigation into the deaths of beloved science popularizer Silas Hudson and his producer Carrie Altenham on March 5, 2047.  

 

When famed science presenter Silas Hudson and his companion are brutally murdered while visiting Redlands, an isolated settlement on Mars, settlers take the law into their own hands. The justice they seek carries greater danger than the crime, however, and their actions threaten to conceal another crime with far-reaching consequences.

Cover Art: "Redlands"
A double murder threatens the social cohesion of a remote Martian settlement, and in the process exposes a troubling secret.

It’s a pity about Hudson, though. The more we wrote about him, the more unfortunate it was that we had to kill him.