From rec.arts.sf.reviews Fri Jan 10 09:53:17 1992 Path: herkules.sssab.se!isy!liuida!sunic!seunet!mcsun!uunet!think.com!mips!pacbell.com!pacbell!pbhyc!djdaneh From: ecl@mtgzy.att.com (Evelyn C Leeper +1 908 957 2070) Newsgroups: rec.arts.sf.reviews Subject: TALES OF THE WANDERING JEW edited by Brian Stableford Message-ID: <1992Jan6.191213.15827@pbhyc.PacBell.COM> Date: 6 Jan 92 19:12:13 GMT Sender: djdaneh@pbhyc.PacBell.COM (Dan'l DanehyOakes) Reply-To: ecl@mtgzy.att.com Followup-To: rec.arts.sf.written Organization: Pacific * Bell Lines: 257 Approved: djdaneh@pbhyc.pacbell.com TALES OF THE WANDERING JEW edited by Brian Stableford A book review by Evelyn C. Leeper Copyright 1991 Evelyn C. Leeper The Wandering Jew has been a popular topic in literature as an archetype borrowed from Christianity (though running a distant second to Faust). The best-known "mainstream" work involving the Wandering Jew is probably Eugene Sue's THE WANDERING JEW (also available from Dedalus, ISBN 0-946626-33-2, 864pp, L9.99). But to nine out of ten science fiction fans, the name conjures up images of the old wanderer in Walter M. Miller's CANTICLE FOR LEIBOWITZ. But even if this is the only knowledge you have of the Wandering Jew, as Ahasuerus, or Cartaphilus, or Michob Ader, have no fear--Stableford explains the origin and literary history of the Wandering Jew (and why he has so many names). The basic primary source material is two-fold. Matthew 16:28 says, "Verily I say unto you, There be some standing here, which shall not taste of death, till they see the Son of man coming into his kingdom." John 21:22 says: "Jesus saith unto him, If I will that he [Judas] tarry till I come, what is that to thee? Follow thou me," although the next verse appears to be a disclaimer: "Then went this saying abroad among the brethren, that this disciple should not die; yet Jesus said not unto him; He shall not die; but, If I will that he tarry until I come, what is that to thee?" Though Stableford gives a very complete introduction, there are a few omissions worth mentioning. Recent works that Stableford doesn't mention include THE LAST COIN by James Blaylock (here he is Judas), THE HOMEWARD BOUNDERS by Diana Wynne Jones (here he is Ahasuerus), and the CASCA: THE ETERNAL MERCENARY series by Barry Sadler (in which he is one of the Roman soldiers who gambles for Jesus's robe). In the film THE SEVENTH SIGN he is Pilate's gatekeeper (but then he's Roman, rather than Jewish, isn't he?); in DC Comics "Secret Origins" (#10) he is the Phantom Stranger. According to one person, in this version he was a man named Isaac whose wife was killed trying to protect their child from Herod's slaughter of the innocents and so he ended up hating Jesus. Older works include George Sylvester Viereck's MY FIRST TWO THOUSAND YEARS, THE AUTOBIOGRAPHY OF THE WANDERING JEW, THE PRINCE OF INDIA by Lew Wallace, and the Danish play GENBOERNE. After Stableford's twenty-five page introductory essay, the book gives us twelve historical pieces, including "The Wandering Jew's Soliloquy" by Percy Bysshe Shelley. While the poetry selections don't do much for me, the prose pieces are on the whole well-chosen. "The Magician's Visiter" [sic] by Henry Neele is little more than an episode with a punchline made obvious by the story's presence in this anthology. But there is real magic in "A Virtuoso's Collection" by Nathaniel Hawthorne, a story of a museum of historical, mystical, and mythical relics. That it is run by the Wandering Jew is anti-climactic--the catalog of items is enough to stir one's sense of wonder. (I was reminded of Lawrence Watt-Evans's descriptions of far-off places in "Why I Left Harry's All-Night Hamburgers," surely an odd companion piece to a Nathaniel Hawthorne story.) George MacDonald's "Passages from an Autobiography of the Wandering Jew" has some powerful moments, but also dragged in spots. "The Holy Cross" by Eugene Field suffers similarly--it has a powerful story swamped by an overly long and drawn-out ending. "The Wandering Jew" by Rudyard Kipling doesn't belong here: it's not about the Wandering Jew, but about a man seeking immortality. That his method is based on a major scientific gaffe on Kipling's part makes this all the more annoying--why did Stableford include it? "The Mystery of Joseph Laquedem" by A. T. Quiller-Couch changes the basic legend of the Wandering Jew so much as to render it almost unrecognizable. The same is true of "The Accursed Cordonnier" by Bernard Capes, though the latter's "Oriental" horror style helps save it. O. Henry is the first in this volume to update this story with "The Door of Unrest." Michob Ader claims to be the Wandering Jew, condemned to wander the earth forever for turning Jesus away from his door. But Ader turns out to be just an old drunk with a sad history. Or is he? This is, after all, by O. Henry. The final historical piece is John Galsworthy's "Simple Tale," another episodic tale emphasizing the learning of charity more than the plight of the Wandering Jew. Leading off the recent stories is Mike Resnick's "How I Wrote the New Testament, Ushered in the Renaissance, and Birdied the 17th Hole at Pebble Beach." Unlike the older stories, which see the Wandering Jew obsessed with his fate to the exclusion of everything else, this story postulates that he decides to take an active role in determining his future, rather than just wandering around. And part of that role involves things that affect our history in major ways. This Wandering Jew has changed with the times and his modern English is a delightful change from the King's English (King James, that is) that older writers seem to feel was part and parcel of the Wandering Jew. Resnick does humor well--and not often enough, so this is doubly welcome. (One wonders, though, how this Jew managed to get into all those country clubs?) "The Wandering Christian" by Eugene Byrne and Kim Newman is an alternate history story--what if Constantine had been defeated by Maxentius outside Rome at the Milvian Bridge? (This is the second story with that premise I've read in the last two months--synchronicity?) Constantine's defeat, coming after his vision of a cross against the sun, is the beginning of the end for Christianity. (In our world, of course, Constantine made Christianity legal within the Roman Empire.) The story consists primarily of the Wandering Christian telling the history of his world and himself in the thousand years since Jesus cursed him. The history will interest alternate history fans (and I won't spoil it by describing it here), and the Wandering Christian's personal story has one major variation--he can die. But whenever he dies, he wakes up the next morning in an identical body somewhere else. (That one major reviewer thought this was set in the far future rather than an alternate timeline I can only attribute to his not having read more than the first page--and that not well. Suffice it to say that I don't feel revealing this to be an alternate history a major spoiler.) One more comment: the appellation of "Wandering Christian" rather "Wandering Jew" (though not used in the story itself, in which all the other characters are ignorant of the history of such a person) is interesting. In almost all the legends, the Wanderer believes in the divinity of Jesus; after all, the curse worked. So the Wanderer, whether Jew or Roman initially, must generally be considered to be Christian, albeit unbaptized. (Although it would seem easily enough to get baptized in the Middle Ages, when priests would baptize anyone who stood still long enough.) Yet in almost all stories, he is still the "Wandering Jew." In this, he is the "Wandering Christian." An important facet of his character seems to be that he is of the "outsider"; once cursed, he cannot rejoin the brotherhood of the majority until his curse has run his course. In Geoffrey Farrington's "Little St. Hugh," the eponymous character is probably one more familiar to Jews than to Christians, and probably also decanonized in the recent reorganization that also demoted (Saint) Christopher. Confused? Okay--here's the background. In the Middle Ages, Christians who had borrowed money from Jews and didn't want to have to pay it back--or who just wanted to stir things up--would put a dead child's body in the Jewish section of town and, when it was found, claim the Jews had sacrificed the child in some heathen ritual. (Easter was a popular time of year for this--they could accuse the Jews of using Christian blood for their Passover matzoh and it fit right in with the Easter sermon on how the Jews killed Jesus.) These trumped-up charges are now referred to as "blood libels." The child victim of all this was usually canonized quite rapidly as a "martyr to the faith"--hence "Little St. Hugh." Little St. Hugh, by the way, was a real person, Little St. Hugh of Lincoln, who at the age of nine was found dead in 1255, supposedly after being crowned with thorns, crucified, and then thrown in a well after an attempt to bury him failed when the ground refused to cover him. Ninety-three Jews were arrested; nineteen were killed and the rest released after the payment of a large bribe to the either the Francisans or the Dominicans (accounts vary). Little St. Hugh's story is told by Chaucer in the "Prioress's Tale." (Even Butler in his LIVES OF THE SAINTS labels the charges against the Jews groundless.) In Farrington's story, the bishop is behind it all, having first used the child for his own Satanist rites. When he spots the Wandering Jew (as a Jew he had already seen burned alive once), he decides that the blood of an immortal would be even better than that of a child. What happens, and what will happen, provides the final irony to a story already full of ironical touches. Robert Irwin's "Waiting for Zaddick" is set during World War II, or more specifically, during the Holocaust. Haim is spying for the Nazis and is told to find out what the Zaddick is. (In Yiddish, a zaddick, or more usually, tsaddik, is a miracle worker.) Though he hears the Hassids say that the soul's messenger comes only once and we must welcome him when he comes, Haim still fails to welcome the Wandering Jew and is trapped forever with no hope of a second chance. This story bothered me, because it seemed to imply--unintentionally, I am sure--that the Jews of the Holocaust should have accepted the teachings of the Wandering Jew (and hence become Christian). I suppose if one accepts the reality of the Wandering Jew one must accept the validity of Christianity as well, but I am still not comfortable with the message I see here. "Wanderlust" by Steve Rasnic Tem is ostensibly about the Wandering Jew, but in truth could be about any immortal. It is a well-considered look at what immortality means in terms of family life, even if the end seems a trifle contrived. (While it is well-considered, I can't say it is entirely original; Poul Anderson's BOAT OF A MILLION YEARS is just one example of another work that covers this theme.) Ian McDonald's "Fragments in an Analysis of a Case of Hysteria" centers more around the premonitions of its central character, a young Jewish woman just before and during the Holocaust. The Wandering Jew is a secondary character, appearing solely to stir up people's fears and hatreds. The idea that one person in a cabaret show could somehow cause the rise of the Third Reich--even with Hitler in the audience--is difficult to accept. But the undeniable poetry of McDonald's writing makes up for the necessary suspension of disbelief. Actually, the story's ONLY weak spot is the Wandering Jew. Even the cabaret performance works--it's just the implication of its widespread effect that I question. (But then, accepting an eternally cursed immortal requires some suspension of disbelief anyway. Perhaps giving him this much power is something others can more easily accept than I can.) In "The German Motorcyclist" by Pat Gray, I think the title character is supposed to be the Wandering Jew, but quite honestly I found the whole thing too obscure and pointless. Scott Edelman may have gotten his inspiration for "The Wandering Jukebox" from Thomas Disch's "Brave Little Toaster," but this tale of household appliances seems to have little, if anything, to do with the Wandering Jew, and I found it tedious rather than intriguing. Brian Stableford included one of his own stories, "Innocent Blood," about the (definitely this time) Wandering Jew and the AIDS-infected junkie he tries to save. In this story Stableford ties into a variant of the legend of the Wandering Jew invented by Eugene Sue--that the Wandering Jew was also a plague-carrier, bringing cholera with him wherever he went. Told from the point of view of the junkie, this is a successful modernization of the legend. If Stableford brings the Wandering Jew into the gritty present, Barrington J. Bayley brings him into the far future in "Remembrance." About five million years in the future, that is, and condemned to wander the universe from planet to planet until Jesus returns, which will apparently not be until the end of the universe--another twenty BILLION years. (The question of how he travels from planet to planet is never answered.) And finally we have David Langford's "Waiting for the Iron Age," in which the Wandering Jew, after many deaths and rebirths, finds himself reborn in a data bank in a time capsule, immortal till--once again--the end of the universe, here described as 101500 years (the last story was 109). Now his wandering is reduced to wandering electrons around a loop, and this raises the question: is the purpose of the curse on the Wandering Jew to punish him or to have him serve as a lesson to everyone else? In this story, it must be the former, yet I think that the stories that presume the latter have more scope and offer more opportunity. This isn't a bad story, but by reducing the story to an emphasis on the awful punishment, Langford had removed any opportunity for repentance or salvation. And if Christianity is a religion that preaches that true repentance in one's lifetime will lead to salvation, this must hold true even for the Wandering Jew. TALES OF THE WANDERING JEW offers a variety of interpretations of a well-known legend. In spite of its fantastic nature, it is less well-known in the area of science fiction than might be expected, and Stableford's anthology may help change that. Currently there is no American edition, but by all means check your local specialty shops or science fiction convention dealers rooms; I recommend this book. %B TALES OF THE WANDERING JEW %E Brian Stableford %C Langford Lodge, St. Judith's Lane, Sawtry, Cambs, Great Britain PE17 5XE %D 1991 %I Dedalus %O paperback B (trade paperback), L8.99 (I paid US$20) %G ISBN 0-946626-71-5 %P 368pp %T "The Wandering Jew" (anonymous) %T "The Wandering Jew's Soliloquy" (Percy Bysshe Shelley) %T "The Magician's Visiter" (Henry Neele) %T "A Virtuoso's Collection" (Nathaniel Hawthorne) %T "Passages from an Autobiography of the Wandering Jew" (George MacDonald) %T "The Holy Cross" (Eugene Field) %T "The Wandering Jew" (Rudyard Kipling) %T "The Wandering Jew to Ancient Rome" (Eugene Lee-Hamilton) %T "The Mystery of Joseph Laquedem" (A. T. Quiller-Couch) %T "The Accursed Cordonnier" (Bernard Capes) %T "The Door of Unrest" (O. Henry) %T "Simple Tale" (John Galsworthy) %T "How I Wrote the New Testament, Ushered in the Renaissance, and Birdied the 17th Hole at Pebble Beach" (Mike Resnick) %T "The Wandering Christian" (Eugene Byrne & Kim Newman) %T "Little St. Hugh" (Geoffrey Farrington) %T "Waiting for Zaddick" (Robert Irwin) %T "Wanderlust" (Steve Rasnic Tem) %T "Fragments in an Analysis of a Case of Hysteria" (Ian MacDonald) $T "The German Motorcyclist" (Pat Gray) %T "The Wandering Jukebox" (Scott Edelman) %T "Innocent Blood" (Brian Stableford) %T "Remembrance" (Barrington J. Bayley) %T "Waiting for the Iron Age" (David Langford) Evelyn C. Leeper | +1 908 957 2070 | att!mtgzy!ecl or ecl@mtgzy.att.com From rec.arts.sf.reviews Mon Apr 24 12:52:42 1995 Newsgroups: rec.arts.sf.reviews Path: news.ifm.liu.se!liuida!sunic!sunic.sunet.se!mimuw.edu.pl!news.nask.org.pl!fuw.edu.pl!wariat.org!malgudi.oar.net!news.erinet.com!uunet!bloom-beacon.mit.edu!news.media.mit.edu!nobody From: "Evelyn C Leeper" Subject: "The Hunger and Ecstasy of Vampires" by Brian N. Stableford Message-ID: <9504191706.ZM12622@mtgpfs1.mt.att.com> Followup-To: rec.arts.sf.written Sender: news@news.media.mit.edu (USENET News System) Organization: Date: Wed, 19 Apr 1995 23:38:11 GMT Approved: wex@media.mit.edu (Alan Wexelblat) Lines: 70 [I sent this a while ago but it never appeared here.] "The Hunger and Ecstasy of Vampires" by Brian N. Stableford Interzone #91/#92, January/February 1995, novella A novella review by Evelyn C. Leeper Copyright 1995 Evelyn C. Leeper Normally I don't review short fiction from magazines, but I'm willing to make an exception in this case. If I don't, you might not realize you should be nominating this for a Hugo next year. This is part of what appears to be a new trend in British science fiction involving Victorian vampires. Perhaps the best-known example on the American side of the Pond is Kim Newman's ANNO DRACULA, but Stableford has also written a relatively well-known novel in this milieu, THE EMPIRE OF FEAR (an expansion of "The Man Who Loved the Vampire Lady," which I recently reviewed as part of the anthology TOMORROW SUCKS). "The Hunger and Ecstasy of Vampires" starts in 1895 with the gathering of eight Victorian gentlemen to hear the story of Edward Copplestone, who has traveled into the far future with the help of a drug he developed. (It is obvious from how they are introduced that these gentlemen are people who should be known to the reader, but who am I to spoil your fun in guessing who they are?) In the future Copplestone has discovered the result of the conflict between humans and vampires, and much more. At times Stableford evokes H. G. Wells's TIME MACHINE--thoroughly consciously and intentionally, I might add. At other times, his writing is more in the sweeping style of Olaf Stapledon's galactic epics. One might think either is an odd style for a vampire novel, but Stableford proves that it's the author who ultimately determines what works and what doesn't--and he makes it work beautifully. In addition to his other feats here, Stableford manages to writea story with Oscar Wilde as a major character without resorting to filling his dialogue with every famous thing Wilde ever said, while still making Wilde seem like Wilde. If this doesn't impress you, you've obviously never read the various Sherlock Holmes pastiches in which Holmes meets Wilde apparently for the sole purpose of providing Wilde with an opportunity to say all his most famous lines. In short, this is a Hugo-class novella, full of lyrical descriptions, a conflict in which both sides have their strengths and their weaknesses (both in their powers and in their philosophies), and interesting, three-dimensional characters. I know it will be hard to find this in the United States (unless some far-seeing company decides to market it as a stand-alone novella--hint, hint), so look for it in Glasgow at Intersection if you're there. I've just started subscribing to INTERZONE, but I can see why it keeps making the ballot for semi- prozine when it publishes this stories of this quality. %T "The Hunger and Ecstasy of Vampires" %A Brian N. Stableford %C London %D January/February 1995 %I Interzone %N 91, 92 -- Evelyn C. Leeper | +1 908 957 2070 | Evelyn.Leeper@att.com "I don't think adversity necessarily builds character, but it certainly gives you an opportunity to display it." --Gary Bean (Open Systems Today, 1/9/95) -- --Alan Wexelblat, Reality Hacker, Author, and Cyberspace Bard MIT Media Lab - Intelligent Agents Group finger(1) for PGP key Voice: 617-253-9833 Pager: 617-945-1842 wex@media.mit.edu http://wex.www.media.mit.edu/people/wex/ "Are we fugitives from the law?" "Yes." "Idiocy is our only option." From rec.arts.sf.reviews Wed Jun 24 14:00:01 1998 Path: news.ifm.liu.se!news.lth.se!feed1.news.luth.se!luth.se!cam-news-hub1.bbnplanet.com!dallas-news-feed2.bbnplanet.com!news.bbnplanet.com!worldfeed.gte.net!eecs-usenet-02.mit.edu!ai-lab!news.media.mit.edu!not-for-mail From: pj@willowsoft.compulink.co.uk (Paul S Jenkins) Newsgroups: rec.arts.sf.reviews Subject: Review: Stableford's _Serpent's Blood_ Followup-To: rec.arts.sf.written Date: 22 Jun 1998 15:52:53 -0400 Organization: CIX - Compulink Information eXchange Lines: 61 Approved: wex@media.mit.edu Message-ID: Reply-To: pj@willowsoft.compulink.co.uk NNTP-Posting-Host: tinbergen.media.mit.edu X-Newsreader: Gnus v5.3/Emacs 19.34 Xref: news.ifm.liu.se rec.arts.sf.reviews:1936 _Serpent's Blood_ by Brian Stableford A Review by Paul S. Jenkins Review Copyright 1998 Paul S. Jenkins _Serpent's Blood_ is the first in Stableford's _Genesys_ trilogy, the others being _Salamander's Fire_ and _Chimera's Cradle_. It introduces us to the main character, Andris Myrasol, a one-time prince, map-maker and martial arts practitioner. As the story opens he's out of place and down at the heels, and while he's listening to a blind beggar relating something of the mythology of the strange, rotting planet where the action takes place, he finds himself unwillingly involved in a bar-brawl and ends up in prison. Soon we meet a military officer, Jacom Cerri, whom we also follow through the story and, but for the novel's beginning with Myrasol, we could be forgiven for thinking that Cerri was the main character. Then there's Princess Lucrezia, a young woman who seems to want to become a witch, such is her interest in seeds and potions. These and other characters, along with the setting, might suggest that the novel, and presumably the trilogy as whole, is a fantasy. But Stableford's scientific rigour places _Serpent's Blood_ firmly in the SF classification, despite the presence of medieval castles, royalty and horseback-riding. He describes Lucrezia's experiments with poisons in terms of the ever-corrupting biology of the planet, rather than as mystic spells. The burgeoning civilisation's mythology, which Myrasol glimpses just before his incarceration, hints that the inhabitants are descendants of human colonists, and have long since lost touch with Mother Earth. So this is in fact an alien planet, and what would an alien planet be without aliens? Well, therein hangs a tale -- one that could easily stretch across three volumes. _Serpent's Blood_ starts off very readable and profluent, with sparse but well-drawn characters. Half way through, though, I began to feel that there's no 'greater scope,' no higher ideal involved. It's all rather parochial and confining; but maybe this was Stableford's intention. The narrative, though stylish and literate, is very even in tone. When the pace of action quickens, it's like choreography, related in a matter-of- fact series of steps. The last 40 pages, however, reveal some wider objectives, and at last some of the characters come out of themselves. With a sense of relief I witnessed the main protagonist's rebellion against his circumstances. If only we could have had some of this earlier on. Despite this reservation the novel is worth it for Stableford's scholarly but sublimely readable style. %A Stableford, Brian %T Serpent's Blood %S Genesys %V Book 1 %I Legend %C London %D 1996 %G ISBN 0 09 944341 4 %P 485 pp. %O paperback, GBP 5.99 From rec.arts.sf.reviews Thu Nov 19 14:12:25 1998 Path: news.ifm.liu.se!news.lth.se!feed1.news.luth.se!luth.se!cam-news-hub1.bbnplanet.com!cpk-news-hub1.bbnplanet.com!news.gtei.net!newsfeed.cwix.com!18.181.0.26!bloom-beacon.mit.edu!senator-bedfellow.mit.edu!usenet From: sfrevu@aol.com (SFRevu) Newsgroups: rec.arts.sf.reviews Subject: Review: Inherit the Earth by Brian Stableford Followup-To: rec.arts.sf.written Date: 12 Nov 1998 14:35:20 -0500 Organization: AOL http://www.aol.com Lines: 54 Sender: wex@ronin.media.mit.edu Approved: wex@media.mit.edu Message-ID: NNTP-Posting-Host: ronin.media.mit.edu X-Newsreader: Gnus v5.5/Emacs 20.2 Xref: news.ifm.liu.se rec.arts.sf.reviews:2170 Inherit the Earth by Brian Stableford Review Copyright 1998 by Ernest Lilley Damon Hart is one of the first generation born in the artificial wombs developed by Conrad Heiler after the global fertility crisis peaked and mankind's future came to a grinding halt. He's Heiler's biological son, and the foster son of Silas Arnett and Eveline Hywood. Swimming in denial, he changed his name, struck out on his own as an exhibition streetfighter making sensory tapes for audiences that can relive every bit of bloodlust and -letting in the safety of their VR hoods. Of course, he's past that now, making a living and a new reputation as a commercial VR artist while copying friends and lovers into cyber-porn and editing out everything but the meat. Silas Arnett is an old man in a young body maintained by IT, nanobeasties swimming in his blood, taking care of all the little details of biology, from the suppression of pain to the enhancement of Eros. Silas is a living fossil. He's a left-over from before the fertility crisis that threatened to wipe man off the face of the Earth in a single generation. Once he was a researcher with Conrad Heiler, one of the team that developed the technology of the artificial womb. Now he's retired - wealthy, self- indulgent, sleeping with an endless stream of genuinely young women in Brian Stableford's Brave New World. Until he's kidnapped, purged of his IT, publicly denounced and tortured for all the world to watch on the Net. All to give Damon a message. Conrad Heiler, once the hero of humanity, didn't really die. He's alive, and guilty of crimes against humanity - find him and we'll let your foster father live. Yeah, like Damon really cares. INHERIT THE EARTH follows Damon as he searches back through the personal past he'd tried to bury to find the truth about his father. He spends a lot of time zipping around the New World tracking down his elusive progenitor and getting kidnapped by the various players in the game as he keeps getting his nose rubbed in his own self-importance. The action, and there's a fair amount of it, contrives to tie together the book's real context, a discussion of the tensions threatening to rip society apart as the race steps onto the escalator of immortality. If no one ever dies, exactly how do you inherit the earth? Among the current crop of cyberstories dealing with life extension, from Gibson's IDORU to James Halperin's FIRST IMMORTAL, the questions posed and the technologies explored in Stableford's novel are its strengths. The plot moves along reasonably, but the central character is disconnected enough from everyone around him that the story never quite catches fire. As hard SF it works fairly well, but the character's journey from dissociation to involvement falls short of compelling. %T Inherit the Earth %A Brian Stableford %G ISBN 0-312-86493-0 %I Tor Hrdcvr %D Sep-98