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PW Reviews The Ware Tetralogy

Monday, August 9th, 2010

Publishers Weekly came out with a great review of The Ware Tetralogy today.

Rudy Rucker, The Ware Tetralogy. Prime Books, $24.95 (752p).
Rucker’s four Ware novels—Software (1982), Wetware (1988), Freeware (1997), and Realware (2000)—form an extraordinary cyberweird future history with the heft of an epic fantasy novel and the speed of a quantum processor. Still exuberantly fresh despite their age, they primarily follow two characters (and their descendants): Cobb Anderson, who instigated the first robot revolution and is offered immortality by his grateful “children,” and stoner Sta-Hi Mooney, who (against his impaired better judgment) becomes an important figure in robot-human relations. Over several generations, humans, robots, drugs, and society evolve, but even weird drugs and the wisdom gathered from interstellar signals won’t stop them from making the same old mistakes in new ways. Rucker is both witty and serious as he combines hard science and sociology with unrelentingly sharp observations of all self-replicating beings. This classic series well deserves its omnibus repackaging, particularly suitable for libraries.

Read it now!

New Painting: “The Riviera”

Monday, August 2nd, 2010

I finished a new painting today, “The Riviera.” I was going for a kind of French Impressionist look with this one, thinking of a garden party. Another inspiration was that I’d recently seen the Mel Brooks theater production of Young Frankenstein. But I went for a robot or mechanical man rather than a Frankenstein’s monster. I like how he’s glowing from the inside. In a way, this painting is an image of my wife Sylvia and me, on a car-trip we took to the Riviera with her brother Henry, in 1966, the year before Sylvia and I were married.



The Riviera, 40” by 30”, August, 2010. Oil on canvas. Click here to see larger image.

As usual, you can get prints or originals of my paintings at my paintings site, also this page has a link to my Lulu art book of paintings, Better Worlds.

I’m still fooling around with my new Alan Turing story, it’s always fun to be writing. I like the craft of the process, the kneading, the interactions with the muse.

I’ve been twittering a certain amount of late, too, and some of the tweets have to do with ramifications of my Turing research. If you want to see my tweets, click the button below.

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Brendan Byrne, a young writer who edits an off-kilter webzine called “The Orphan,” sent me a link to a stirring blog post by SF titan Norman Spinrad. As sometimes happens to aging writers, Norman is having trouble getting his books published these days. Norman analyzes this in terms of a “death spiral”.

Norman is about five years older than me, he was kind to me when I was new at writing. When I was coming up, his Bug Jack Barron came as a revelation. You can put curse words in a science fiction book!

Reading his blog-post complaint, I too worry about remaining publishable. More and more often I think of the folk-tale that, among the Inuit, when a member of the tribe becomes too old and decrepit to care for, they’re put on an ice-floe with a hunk of blubber to chew as they drift northward towards the unwinking sun.

You can substitute “e-books” for “hunk of blubber,” I guess…

On the Beach with Sylvia and Turing

Saturday, July 31st, 2010

Just back from hike-in camping with my wife, Sylvia, at the Point Reyes National Seashore Coast Camp. It’s a two mile hike in, not too bad, and you end up in a site right by the Limantour Beach. I never manage reserve campsites in advance—it’s just too big a hassle and too much thinking ahead—but if you show up at the Bear Valley Visitor center shortly after 9 a.m. on a weekday, you can normally get a site. Not that managing this is easy, but every couple of years I can.

When I visit these wild, deserted beaches, I sometimes think of the publicity photo of Raquel Welch for the 1966 film, One Million Years B.C.

It was foggy in the morning, but got sunny around noon on one day and 2 p.m. on the other.

I’m always so impressed with how intricately and beautifully nature arranges things when humans more or less leave her alone. The little rectangles of park and yard that we have in cities aren’t really the same kind of thing.


[On “Sculptured Beach” a mile south of the Coast Camp.]

I’m still thinking about this Alan Turing story I want to write, possibly with an eye to getting up enough momentum to charge ahead with a novel that has the title Turing & Burroughs.


[Protosentient pre-fetal green goo.]

I’ve been reading this very long Turing biography from 1983, Andrew Hodges, Alan Turing: The Enigma. The book really rounds out Turing’s character, and I’m internalizing some of this stuff. There’s always a danger, when writing about historical figures, to settle for a cartoon version of them.


[In the hamlet of Pt. Reyes Station. The Bovine Bakery is a must.]

I feel like in some ways I was like Turing myself as a boy and young man. Like Turing, I always had huge problems with my writing pen, often got ink on myself, and tended to get low grades simply because my papers were so messy. And, like Alan, when filling out official forms, I’d pondered every answer, thiking about the optimal strategy. It was always clear that the authorities were my enemies.


[My friend Bill explains his method of luring a swarm of bees from their lair by building a fake hive outside their entrance.]

Turing had an odd way of speaking. His voice was somewhat high-pitched, he had a grating laugh, and he emphasized words by raising his pitch still higher on them. Hodges has a quote from an American scientist who remembers Alan telling him a dream as follows: “I had a dream last night. I dreamt I was walking up your Broadway carrying a flag, a Confederate flag. One of your bobbies came up to me and said, ”˜See here! You can’t do that,’ and I said, ”˜Why not? I fought in the War between the States.’”

Turing did a lot after his 1936 paper, “On Computable Numbers, with an Application to the Entscheidungsproblem” written when he was 24, and the source of his seminal formulation of an abstract computer as a “Turing machine.”

In World War II, he was in the thick of the British efforts to break the German army’s Enigma and Fish codes. He was said to be the top cryptanalyst in the United Kingdom, and Turing’s group made a key difference in the war’s outcome.

As the war died down, Turing got hold of “a twenty-five cent handbook on electronics, the RCA Radio Tube Manual, and invented a new way of enciphering speech.” The cipher was called Delilah, basically you needed a box of electronics at the sender’s phone and matchinb box at the receiver’s phone. The cipher worked by overlaying random noise on phone message. A cool, modernistic and Wolframesque feature of this is that Turing used a deterministic but chaotic circuit in order to generate the “noise.” The sender’s and receiver’s boxes could be set to generate exactly the same pseudorandom patterns.

Listening to a Delilah message was maybe like listening to Turing himself. It was overlaid by a noisy background buzz and a 4000 Hz whistle. Talk to me, Alan.

Podcast #52. “New SF Futures.” Westercon.

Friday, July 30th, 2010

July 4, 2010. A talk about new ideas for SF. Role of idea in a book or story. A list of some topics that seem interesting to me. Larry Niven was there, but he fell asleep. That’s okay. Q&A.

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