there is a Cleopatran equivalent of grass, a green, moss-like growth that spreads across the surface, "...making a springy carpet underfoot...;" (p. 41)
there is mass poverty and unemployment back on Earth (although one rare colonizable Earth-like planet 398 light-years away cannot make much difference as one of the characters seems to think).
There are three characters: the female viewpoint character and two men, a Brazilian aristocrat and a North American radical. I agree with the latter in his opposition to aristocracy though not in his belief in human superiority. There are no non-human characters and the belief in racial superiority does not become problematic because the tool-using bipedal "fabers" turn out to be solitary, non-linguistic and unintelligent. This explains their otherwise mysterious lack of curiosity, unresponsiveness to communication attempts and acceptance of food but utter disregard of offered human artifacts. Neat.
As ever in Anderson's stories of planetary exploration, the characters have conflicts between themselves but, as a group, encounter and solve a problem of some sort. In another first contact story, "Wings of Victory," the problem is the exact opposite, not why do these apparently intelligent beings act as if they were unintelligent but how can they possibly be intelligent when their bodies are light enough for them to fly?
Despite the political disagreement between the two men, the aristocrat acts honorably, even ironically saying when the other man is sick, "'...we can't leave our comrade.'" (p. 52)
The blurb describes Cleopatra as a "...unique 'anthological novel.'" (back cover) This is indeed a novel classification! Finishing the introductory Anderson story and turning the page, we find a one page historical note of unspecified authorship, which informs us, first, that imported Terrestrial flora and fauna drive back native life and, secondly, that two powerful ruling nations gradually emerge among the colonists, northern Dardania and eastern Pindaria.
Dardanians modify fabers as workers, servants, dancers and musicians and for military purposes. The second chapter in the "anthological novel" is "Faber-Master" by Michael Orgill. Since this story is not by Anderson, is not a direct sequel to the Anderson story and is by an author with whom I am as yet unfamiliar, I prefer for present purposes to proceed to rereading an Anderson novel in order to continue blogging about Poul Anderson.
6 comments:
Hi, Paul!
Your recent notes have gotten me very interested in A WORLD NAMED CLEOPATRA. I look forward to getting my copy.
"Aristocracy" per se does not bother me. To me, it's an OBVIOUS fact that ALL human societies have some kind of leading, ruling, or governing groups. It's merely a form of "division of labor," in which some members of a society looks after its public business and thus enabling most ordinary people to got about their ordinary lives as untroubled as possible.
What REALLY matters is not the form of the state but that the state accepts limitations on its powers and obeys its own laws. And that the "aristocracy" is not too rigid, but lets in "new blood." By and large, I think Anderson himself would agree with me.
Sean
He probably would.
I have just started to reread TWILIGHT WORLD, last read, I think, in the 1960's, a lifetime ago.
Can anyone identify the top left hand book on the above image?
I have identified it but can anyone else recognise it?
Hi, Paul!
I have! NO WORLD OF THEIR OWN is the original book title for THE LONG WAY HOME (Anderson's preferred title). An early, but surprisingly sophisticated Anderson novel.
Sean
I think that aristocracy made sense in the past but that society now has the potential to educate an entire population of "aristocrats" informed enough to participate in public affairs. Notionally, we have this already although, of course, electoral practices and procedures do not yet in any way match up to full participation.
Post a Comment