Duel On Syrtis

I had resisted rereading Poul Anderson's "Duel on Syrtis" (Strangers From Earth, London, 1965) because of its horrific ending. Paralyzed but unsleeping, Riordan is hidden in a cave for a thousand years of hell and insanity.

Riordan had seemed to win his fight with Kreega, the Martian that he had hunted, but Kreega survived and we had been told how he would do it on the third page of the story.

I have lost count of Anderson's fictitious Martian races. Feathered and owl-like, Kreega sounds a bit like the "Martians" of Anderson's Technic Civilization History but the latter are extra-Solar colonists of Mars, not native Martians.

"Duel on Syrtis" was published in Planet Stories in 1951 yet a base on Mars is called Port Armstrong.

Riordan has hunted throughout the Solar System:

Mercurian firedrakes;
Plutonian ice crawlers;
Terrestrial lion, tiger, elephant, buffalo and sheep;
many-legged swamp monsters in Venerian rain forests (another "Fantastic Venus");
a huge blind thing in a Neptunian liquid-gas swamp.

Thus, an old-style much-inhabited Solar System.

The Disintegrating Sky

Poul Anderson's "The Disintegrating Sky" (Strangers From Earth, London, 1965), originally published in Fantastic Universe in 1953, sixty years ago, is a very minor work, a seven and a half page short story recounting a conversation between four characters. The title and the last three words are identical.

I frequently need a dictionary when reading Anderson. This time, I was sure that "...thunger..." (p. 149) was a misprint either for "hunger" or, more probably in this context, for "thunder." However, google informs me that "thunger" can mean "hunger roaring like thunder."

Like HG Wells' Time Traveler and his dinner guests, these characters discuss the nature of time. The options considered are:

according to relativity (and Wells' Time Traveler), "'...simply one dimension in a four-dimensional continuum. The past and the future...equally real and fixed...'" (p. 152);

but wave-mechanics and the uncertainty principle cast doubt on that theory;

seen as flowing because it "'...is the direction of increase of entropy...'" (ibid.);

"'...the Author is writing all the time. The movement of time is the movement...of his pen...The future has not yet been written. The present is what he is writing this instant. The past is what he has already written.'" (ibid.)

That last account is nonsense. Claiming to explain our experience of the passage of time, Anderson's character merely assumes a passage of time for the Author, thereby presupposing precisely the phenomenon that he is supposed to be explaining. "'...the Author is writing all the time...yet...this instant...already'" etc.

If we can separate the idea that we are being written from the notion that our being written explains time, what do we think of the idea? We are used to the thought that reality and appearance are not identical:

"'This table isn't less heavy because science has shown that it's built up of atoms which are mostly empty space.'" (p. 153)

So, if a superhuman "Author" were able to work in the medium not of paper and ink but of self-conscious organisms, then, yes, we might be characters in a novel of sorts. In the Animal Man graphic novel series by Grant Morrison, one character holds up an open comic book page to others and says, "If you could see our universe from the outside, that is what it would look like."

"'Earth's history reads like the magnum opus of a romantic fourteen-year-old.'" (p. 154)

Anderson's viewpoint character says that, if he had written an unsatisfactory novel in his teens, then, before ending it in a flaming conclusion, he would have expressed his disgust with his unrealistic characters by making some of them "'...realize what they were - characters in a poorly written novel...'" (p. 156)

No, he wouldn't. He would simply have stopped writing and destroyed the manuscript. But, in this case, if the characters are conscious, then maybe that is what they are experiencing right at the end when "'...the total-disintegration bomb...'" (p. 155) is being used.

Strangers

"Strangers" is a short story by Poul Anderson, originally published in Analog Science Fiction/Science Fact, January 1988, and collected in All One Universe (New York, 1997). Strangers From Earth is an earlier collection by Anderson but could equally be the title of "Strangers."

Anderson's Introduction to "Strangers" informs us that this story is hard sf. Thus, references in the opening paragraph to "...a ghost..." and to "...campfires of the dead..." describe phenomena as perceived by the first person narrator but we have been forewarned not to suppose that anything here is supernatural.

In the second paragraph, the narrator informs us that he has fur and tendrils so he is not a human being and we are probably on another planet. In the following paragraphs, we learn that he has a fin and a tail and is quadruped. He also refers to "...the Night Folk." (p. 3)

In fantasy, beings called "Night Folk" will almost certainly be supernatural. In hard sf, they are likely to be nocturnal beings rarely glimpsed by their diurnal counterparts and believed to be supernatural. In this case, they turn out to be human colonists of a planet whose solar radiation is deadly to Terrestrial organisms. When the narrator meets and describes "[h]e of the Night...," (p. 11) tall, tailless, furless, flat-faced, we think, "This sounds like a human being...," except for the "beak" but that is the narrator's only word for a nose.

Thus, Anderson reverses everything and we are bound to ask, "Who are the strangers?"